What makes it different from others?
Just so...so bad
Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.
View MoreA film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.
View MoreI'm not overly familiar with the Hildegarde Withers mysteries, having only seen one other. In this one, "Murder on a Bridal Path," Miss Withers is played by Helen Broderick. Apparently there were three Withers: Edna May Oliver, Broderick, and Zasu Pitts. James Gleason remains as Oscar, the police detective who acts like he doesn't need or want Withers' help but she always steers him down the right path.When the body of Violet Feverel is discovered on the Central Park bridle path, it looks as if she was thrown from her horse. Hildegarde is walking her dog and, having found the horse, sees that he has blood on him. It's ultimately found to be murder.Nobody like this woman, particularly her ex-husband Don whom she's thrown in jail for back alimony. And he was released by a forged court order. Also, the manager of her stables fought with her that morning. And then there's Eddie Fry who is seeing Violet's sister to the disapproval of Violet.Oscar and Hildegarde head out to Don's home on Long Island. There they meet the cast of a horror film: the sick father, Patrick, the caretaker Chris, and his crippled son Joey.When Don's father is murdered, it brings Hildegarde closer to figuring out the identity of the killer.Mildly entertaining - even though it's short, it seems longer. It's very dark-looking, with the Long Island house looking like Bleak House. I liked Helen Broderick. She has a fun way with dialogue and nice chemistry with Gleason, though Oliver's was better.I think the Penguin Pool Murder was better. This is okay.
View MoreIn "Murder On A Bridle Path", the fourth entry in the Hildegarde Withers series, Helen Broderick replaces Edna May Oliver as the snoopy and smart schoolteacher-turned-amateur-sleuth, and although she is cuter than her predecessor, she is no match for her comedy-wise; or maybe Oliver was just so distinctive in the role that it's hard to accept anyone else in it. James Gleason does his usual solid work as the befuddled Oscar Piper, but most of the rest of the supporting cast is bland. The story begins well, but soon bogs down; to be honest, I was looking forward to the "terrific finale" that Leonard Maltin promises in his otherwise damning capsule review, but it wasn't there, IMO. Watch this one only if you must watch every film in the series. ** out of 4.
View More"It would be you," Inspector Piper nods the moment he turns and sees Hildegarde Withers arriving on the scene. "It's gotten so, Hildegarde, a person can't be killed within the city limits without your showing up." This is, indeed, the fourth murder case on which Miss Withers assists, critiques, leads, follows, and just generally offers suggestions to her crusty detective friend. James Gleason's Oscar Piper is once again easily chagrined but grudgingly respectful of Miss Withers' detecting skills; Helen Broderick takes on the role of school teacher and amateur sleuth Hildegarde Withers for the first and only time. This Withers is a bit less tart and somewhat more conscious of her own wittiness than the earlier Withers (as portrayed by Edna May Oliver). Broderick and Gleason quickly establish a rapport and relationship that—as in the earlier films in the series—is easily our primary reason for watching.The plot involves the death of society girl Violet Feveral, played (albeit briefly) with delicious nastiness by Sheila Terry. Suspects abound—this Violet was, in the best whodunit tradition, wildly unpopular and had handed out insults and injuries to numerous other characters in the hours and days before her death. The familiar faces in the lineup of suspects include Louise Latimer as a sister to the victim; John Carroll as a family employee; and Leslie Fenton, who is quite good as the nervous ex-husband who has just been mysteriously released from jail. Willie Best stands out in his usual thankless role as a stable boy who may have a clue or two; his deadpan delivery when answering questions (What was he doing in jail? "Shooting craps." No, what was he in jail for? "Shooting craps.") squeezes the maximum out of a role that's otherwise a lame stereotype.The mystery itself is not particularly inventive or suspenseful; however, the story moves along briskly and the actors and script are competent if not brilliant. The interaction between Gleason and Broderick is clearly presented as the center of the picture—and that relationship between a couple of pros is a lot of fun to watch. (One example: Oscar suggests that the murder was a "crime of passion," to which Hildegarde snaps, "Oscar, don't you think we'd better try to keep this case clean?") Bonus: we are instructed what can be learned about a person from examining his pipe!
View MoreMurder on a Bridle Path (1936) ** (out of 4) The fourth film in RKO's Hildegarde Withers series was the first after Edna May Oliver stepped away from the part and was replaced by Helen Broderick for the first and only time. In the film a society woman is out riding her horse when she's thrown from it and then murdered. Detective Piper (James Gleason) thinks it's a simple case of her being killed by the fall but Withers comes across the scene and notices that the woman was murdered after the fall. The two team up to track down the usual suspects. MURDER ON A BRIDLE PATH isn't as bad as its reputation but at the same time there's no question that it's a major fall from the previous three movies. There's no doubt that Broderick isn't nearly as good as Edna May Oliver but she isn't too bad here. I thought she was decent for what was being asked as she has no problem playing the smart woman and she at least makes us believe she's a lot smarter than Piper for what that's worth. As usual Gleason is very good in his part as the rather slow Detective who is always one step behind the lady. While both actors do a fine job, the same can't be said with their comic timing and chemistry. I think what really hurts the movie is the fact that the two don't share the same spark as in the previous three films. The screenplay isn't the greatest thing either because there's never any clear case of who the killer is and when he's revealed it really seems like a stretch. As is the case in most weaker written mysteries, the police and Withers would have never found out had the killer not given himself away and of course breaking to the point where he tells everything. In the end this film is pretty much on par with the majority of "B" mysteries that were released throughout the decade but at the same time it also makes you appreciate the first three films for how special they were.
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