Review: ‘Charlie Chan on Broadway’

Entry in the Charlie Chan Chinese sleuth series provides an opportunity for the Oriental Sherlock to perform his deductions while a guest of the NY police force. Chan uncovers the killer of two people mixed up in the big city's mob.

Entry in the Charlie Chan Chinese sleuth series provides an opportunity for the Oriental Sherlock to perform his deductions while a guest of the NY police force. Chan uncovers the killer of two people mixed up in the big city’s mob.

Some of the plausible deductions lend more credulity than usual to this typical yarn. Art Arthur, Robert Ellis and Helen Logan combined forces on the original story.

Chan is again faithfully personated Warner Oland, with just as much interest as ever being shown in his clever portrayal. Keye Luke again is the effervescent son, with the lad even better than before if only because he does more things in his usual enthusiastic style. Joan Marsh makes a pert, candid-camera freelancer among the dailies, though the slight love interest she shows for the columnist is blotted out at the close. Harold Huber’s conception of a police inspector is crisp and characteristic if a little too brusque.

Charlie Chan on Broadway

Production

20th Century-Fox. Director Eugene Forde; Producer John Stone; Screenplay Charles Belden, Jerry Cady; Camera Harry Jackson; Editor Al De Gaetano; Music Samuel Kaylin (dir.)

Crew

(B&W) Extract of a review from 1937. Running time: 68 MIN.

With

Warner Oland Keye Luke Joan Marsh J. Edward Bromberg Douglas Fowley Harold Huber
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