Two murders are committed and a $50,000 Chinese Mandari stamp is stolen, tossed around and eventually recovered as an aggregation of costly-stamp counterfeiters are uncovered through the mastermind investigation by Ellery Queen.
Rita La Roy
Lamont Cranston assumes his secret identity as "The Shadow", to break up an attempted robbery at an attorney's office. When the police search the scene, Cranston must assume the identity of... See full summary »
Rod La Rocque,
Attorney John Webb, is fighting the crooked political-ring headed by newspaper publisher Vincent Cushing and his crony George Joyce, the district attorney. When Alma Brehmer, Cushing's mistress and Webb's former sweetheart, is murdered, Cushing and Joyce try to railroad Webb as the killer. Written by
Les Adams <firstname.lastname@example.org>
Although the character played by Pat O'Brien is unencumbered by marital ties, he wears a wedding ring throughout the film. See more »
Look, there are very few things in my life that I really regret. One of them is the time I wasted on you.
Cool off, Snow White! Now let's you and me have a nice little heart-to-heart talk, hmm?
What would you use?
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by Irving Actman
Sung by Ruth Terry See more »
Frank Presnell's first of three crime novels, "Send Another Coffin", is the basis for this film, completed the year following publication of the original, featuring flinty Ohio attorney John Webb (Pat O'Brien) with his wife Ann (Ruth Terry), the duo patterned somewhat upon Dashiell Hammett's Nick and Nora Charles, although Webb is less suave than Nick and more eager to stir political pots. A corrupt state politician, Vincent Cushing (Edward Arnold), is the principal target for Webb's reforming urge, and when Cushing's mistress Alma (Claire Dodd), erstwhile flame of Webb, is murdered, nearly all of the major characters seem to have a motive, including Webb, who faces most of the heat from the homicide investigation although he perceives himself to be "slightly honorable" when compared with those about him. The work includes a strong comedic element along with its murder mystery and socially conscious themes. Vivacious Terry, with her patented energy and spirit, steals the film in what she states is her favourite role, a part for which she is promised by producer Walter Wanger and director Tay Garnett that the former night club singer/dancer will be spotlighted in a musical specialty number, and that she is, one that is perfectly woven into the screenplay, this while under personal contract to Howard Hughes who loans her to Wanger for this production. A cardinal pleasure inherent with film reviewing is discovery of works that have not received an amount of recognition that they deserve, and that is the case in this instance, for it is a piece that includes among its attributes sparkling dialogue, skillful acting and, especially, that mastery of narrative pace and rhythm that marks the best efforts from Garnett who here cunningly blends details for his established mise-en-scène within the script, as is his custom. Even without his foremost mannequin, Marlene Dietrich, Travis Banton's gowns are noteworthy and there is a strikingly illustrative score from Werner Janssen.
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