Story: 1.25/2 - Direction & Pace: 1.25 & 1.00/4 - Performances 1.25/2 - Entertainment 1.25/2
Total - 6.00/10.
In a cinematic era saturated with gumshoes, femme fatales, and enough trench coats to rival a department store's winter collection, "One Body Too Many" emerges as a gem, albeit one polished with the finesse of a vaudevillian's punchline. Set against the backdrop of a will reading - the epitome of glamour, intrigue, and the occasional dust bunny - this 1944 comedy thriller is a delightful escapade into the art of inheritances and hilariously morbid misunderstandings.
The plot, while comfortably nestled in the bosom of the stereotypical, unfolds with a comedic finesse that rivals a masterful chef whipping up a soufflé. An unexpected guest waltzes in just as the potential heirs are gearing up to outdo each other in a financial grab-fest. The mystery is kept as mysterious as a magician's secrets, and you're not overly concerned that this film is less than Hitchcock because it's more about the ha-ha.
The comedy, my dear reader, is the pièce de résistance. Sharp and witty like a well-honed blade, it outshines the diluted humour of today's offerings. There's no crass language here, just good old-fashioned wordplay, slapstick, and visual gags that make you snicker without resorting to the comedic equivalent of a sledgehammer. It's a delicious breath of fresh air in a modern world where humour often seems synonymous with vulgarity.
The direction, a relic from when movie cameras weighed more than your grandma's antique wardrobe, exudes class. The setup scenes are a visual feast, smooth pans efficiently create a dance of effortless elegance, and the lighting is practically a supporting character. Sadly, the film stumbles slightly with its single tempo - a varied rhythm might have elevated the comedic beats and intensified the suspenseful moments.
The cast, a motley crew of characters, delivers a top-notch performance. Jack Haley, trading in his Tin Man gear for the role of a bumbling yet witty insurance salesman, is a delight: An honourable mention to Professor Hilton, portrayed with impeccable charm by William Edmunds. Even the ever-enigmatic Bela Lugosi manages to steal scenes as the charismatic butler despite being a secondary role.
For those craving a generous dose of good-natured hilarity, "One Body Too Many" is the prescription. It's the kind of film that makes you chuckle over your leisurely breakfast, setting the tone for a pleasant weekend of fun. A classic that amply proves, sometimes, the best humour doesn't need an expletive-laden punchline - it merely requires a decent plot, a dash of wry wit, and perhaps one body too many.
Total - 6.00/10.
In a cinematic era saturated with gumshoes, femme fatales, and enough trench coats to rival a department store's winter collection, "One Body Too Many" emerges as a gem, albeit one polished with the finesse of a vaudevillian's punchline. Set against the backdrop of a will reading - the epitome of glamour, intrigue, and the occasional dust bunny - this 1944 comedy thriller is a delightful escapade into the art of inheritances and hilariously morbid misunderstandings.
The plot, while comfortably nestled in the bosom of the stereotypical, unfolds with a comedic finesse that rivals a masterful chef whipping up a soufflé. An unexpected guest waltzes in just as the potential heirs are gearing up to outdo each other in a financial grab-fest. The mystery is kept as mysterious as a magician's secrets, and you're not overly concerned that this film is less than Hitchcock because it's more about the ha-ha.
The comedy, my dear reader, is the pièce de résistance. Sharp and witty like a well-honed blade, it outshines the diluted humour of today's offerings. There's no crass language here, just good old-fashioned wordplay, slapstick, and visual gags that make you snicker without resorting to the comedic equivalent of a sledgehammer. It's a delicious breath of fresh air in a modern world where humour often seems synonymous with vulgarity.
The direction, a relic from when movie cameras weighed more than your grandma's antique wardrobe, exudes class. The setup scenes are a visual feast, smooth pans efficiently create a dance of effortless elegance, and the lighting is practically a supporting character. Sadly, the film stumbles slightly with its single tempo - a varied rhythm might have elevated the comedic beats and intensified the suspenseful moments.
The cast, a motley crew of characters, delivers a top-notch performance. Jack Haley, trading in his Tin Man gear for the role of a bumbling yet witty insurance salesman, is a delight: An honourable mention to Professor Hilton, portrayed with impeccable charm by William Edmunds. Even the ever-enigmatic Bela Lugosi manages to steal scenes as the charismatic butler despite being a secondary role.
For those craving a generous dose of good-natured hilarity, "One Body Too Many" is the prescription. It's the kind of film that makes you chuckle over your leisurely breakfast, setting the tone for a pleasant weekend of fun. A classic that amply proves, sometimes, the best humour doesn't need an expletive-laden punchline - it merely requires a decent plot, a dash of wry wit, and perhaps one body too many.