Genres, Themes, Actors, and Directors:
- Alec Guinness Films
- David Niven Films
- Detectives and Private Eyes
- Elsa Lanchester Films
- Ensemble Film
- Maggie Smith Films
- Murder Mystery
- Neil Simon Films
- Old Dark House
- Peter Falk Films
- Peter Sellers Films
- Play Adaptation
- Satires and Spoofs
Review:
Neil Simon’s all-star spoof of literary detectives and Old Dark House murder mysteries was an enormous hit the year it was released, and remained a popular re-run on television for years thereafter.
A host of big-name actors give boldly satirical performances playing humorous variations on Charlie Chan, Miss Marple, Hercules Poirot, Nick and Nora Charles, and Sam Spade/Philip Marlowe — with Peter Falk in the latter role given some of the best lines in the film:
Locked, from the inside. That can only mean one thing. And I don’t know what it is.
Alec Guinness, however, steals the show as an hysterically incompetent blind butler; his attempts to communicate with a deaf/mute maid (Nancy Walker) are priceless.
Meanwhile, in his first and (mercifully) final acting role, Truman Capote gives a distinctly underwhelming and snively performance as millionaire Lionel Twain:
Fortunately, he’s not on-screen for very long. While the script itself isn’t quite as consistently amusing or clever as fans may remember from earlier viewings, I’m nonetheless including Murder by Death here as a Missing Title, given its enduring cult status — film fanatics will want to watch it at least once.
Redeeming Qualities and Moments:
Must See?
Yes, as an enduring cult favorite.
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One thought on “Murder by Death (1976)”
Yes, a missed title and a must as a cult favorite.
In particular because of this cast! You just can’t beat the line-up, and do they sell it! And they all seem to be clearly having a good time.
I actually don’t mind Capote at all here. Yes, he’s limited but director Robert Moore (a short career; taken too soon, from AIDS) plays into Capote’s strengths and, esp. toward the end, uses him well as a literary figure.
The first two-thirds of the film is not the laugh-riot that many feel it is (imho). There are plenty of isolated one-liners throughout, but there are also quite a few gags that are quaint. It’s as if the film is simmering for the finish.
And finish it does!: the latter part of the film delivers in Sam Spades! The form is quite fine here, with complication building on complication and the laughs should come full and hearty. I especially like Guinness throughout the last section, as he shifts in his reactions from revelation to revelation.
But if I have a favorite performance overall, it’s probably given by Eileen Brennan. Hers is not the largest role in the film but, to me, she’s so ever-present (watch her body movement and facial expressions) – and I love how she throws herself into her lines (“Please excuse Sam. He was shot in the head last week. He shouldn’t even be out of the hospital.”, etc.).
There’s also a refreshing addition of gay humor: the idea of Sam Spade being a closet case is priceless!
Another fave: the doorbell!
[Note: interesting to compare this with the pairing of Guinness and Sellers years earlier in ‘The Ladykillers’.]