That was an excellent one.

Don't listen to the negative reviews

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Reporter William Boyd hops along a lavish ocean liner in an effort to question a public utilities company owner who ends up murdered. With the aide of an aging actor and his daughter (Sheila Terry), Boyd gathers everybody who is a suspect together, and reveals the killer. That's basically all in this slow moving mystery that of course has leading man Boyd sparring with leading lady Terry before the final clinch, a predictable aspect of many a B murder mystery that laces in bits of comedy before everything is wrapped up. There are a few surprise, especially how the killer is revealed, an element that might have you jaw dropped. For me, it did come as a complete surprise, the one aspect of the film that I did not expect and left me touched in spite of how bored I had been over the past hour.

"Go-Get 'Em, Haines" is one of the classical early crime movies. In black and white, it tells us the story of a newspaper agent, who accidentally enters an ocean liner and becomes witness of a murder, he afterwards tries to solve.The film includes all the elements you's expect from such a title. You have the lead character as a hero, who is both smart and eloquent. You have different characters with a motive, that make it hard to guess, who the actual murderer is. And of course you have the love story between the reporter and a beautiful young lady, that finds its climax in a kiss and a marriage. You even have the humorous sidekick, who is, as always, more disturbing than funny. On one hand you could thus say, that this is a rather standardized movie, on the other hand it still has an interesting plot and doesn't do any grave mistakes.All in all I had fun watching this title. It is surely not a masterpiece or anything alike but it is a nice little story, depicted in a well-known way. If you like those early crime movies, this could be a thing for you.

This film has one of the very very rare roles where William Boyd wasn't Hopalong Cassidy once he started in that role. Here Boyd plays a reporter who is told to get the scoop on a millionaire who's utility company is tanking, taking with it the fortunes of many small time investors. Arriving at the rich man's house he sees someone that looks like his man sneaking out a back door. Giving chase he follows him to the docks and on to a ship heading for Europe. Soon things become complicated as murders on board on on land occur.This is a nifty fast moving thriller. Boyd wanders through the film as if he owns the place and its clear why he was a big star. its also clear that had he been able to do something other than Hopalong he might have been even bigger (would that have been possible?). The mystery itself is a bit convoluted and I'm not sure the film plays fair (I blindly guessed the killer before we had even met all of the suspects) but its no matter since whats of interest here is the interplay between Boyd and the rest of the cast and the ship board setting. If there is any weakness its the musical number that takes place as part of a shipboard entertainment, it's not that its bad, it just that its filler. Worth a look.

The story goes that Steve Haines (William "Hopalong Cassidy" Boyd), a reporter, is trying to get ahold of a business tycoon and chases him onto a ship, only to leave with the ship when it casts off. Inevitably intrigue and suspense start to cautiously tip-toe into the light before taking center stage, as Haines runs into a few people he knows, as well as making a few new friends.For the first half of the movie, the filmmakers rely mostly on comedy to get the story rolling. All the elements of screwball comedy are at play here, with some clever dialogue. For instance: Steve wants to know the stateroom number of a pretty girl (Sheila Terry) but the steward (Louis Natheaux) can't tell him. Flashing a bill, Steve asks "Would it be against the ship's rules if you were to tell me your age?" "Well, I'm afraid I can't tell you my age," replies the steward, "but I could tell you that, on my grandmother, she'll be eighty-four." A token perpetual drunk (Jimmy Aubrey) appears shortly after the above exchange, and assumes the comic relief responsibilities for the remainder of the film. And like most token comic relief characters of the 1930's (and unlike most comic relief characters of today), this dizzy, amusing character does actually help the narrative along, rather than just appear for the occasional comedy set piece.I enjoyed this film over all, even though it started to drag a little in a few places. The story was pretty tightly written and it all actually held together quite well, for a B-picture. The ship-board location provides an interesting backdrop, and it seems as though most of the interiors, as well as exteriors, were shot onboard a modest commercial cruise vessel. What exactly it was like to shoot a movie like this I'd like to know. The acting was pretty good, with an excellent scene towards the end, where all is revealed. That's another thing: the movie keeps you guessing, presenting you with several possible outcomes, motives and suspects. If you can find it, it's worth a look.