Although it has its amusing moments, in eneral the plot does not convince.

Simple and well acted, it has tension enough to knot the stomach.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

The best films of this genre always show a path and provide a takeaway for being a better person.

Associate producer: Sam Bischoff. Copyright 22 September 1934 by Warner Bros Pictures, Inc. Presented by Warner Bros Productions and The Vitaphone Corp. New York opening at the Rialto: 17 October 1934. U.K. release: 11 May 1935. Australian release: 9 January 1935. 8 reels. 75 minutes.SYNOPSIS: Does a neighbor's dog howl? If so, why?NOTES: First of only two films featuring long-running Broadway stage actress, Helen Trenholme. The only other picture I have for her is "The Firebird" (1934).COMMENT: Fascinating. Based on the 1934 novel by Erle Stanley Gardner, this entry certainly gives the lie to the oft-told story that Alan Crosland's sound films were stodgy affairs and that the brilliant director of such non-talkie classics as Under the Red Robe, Three Weeks, Don Juan and The Beloved Rogue lost his skills under the burden of sound. Crosland was noted for his flashy style in the silent era, but was allegedly unable to bring this expertise to bear on talkies thanks supposedly to the cumbersome sound-boothed and blimped camera. This may have been true in the early days of recording when sound men ruled the set. But by 1934, the camera had been liberated again and directors like Crosland were free to follow their penchant for effectively dramatic panning and tracking shots which give such added impetus to such scenes as the opening in the crowded courtroom and Mason's "chance" encounter with Holcomb in the street. The first shot with its almost 360 degree pan not only shows us how tightly packed the court is, but gives an urgency to Mitchell's address — he is off- camera for most of the shot — which would be lost in a routine cut to a close-up. In the second set-up, the tracking shot clearly shows us not only that Holcomb is shadowing Mason but that the attorney knows it and thus revels in the chance to put one over the flatfoot. The whole film is distinguished by a stylish but not over- worked camera, plus some of the most engaging performances ever presented in a Perry Mason opus. Warren William is perfect, as usual. In fact, more polished, more suave, more sharp, more quick- witted, more intelligent, more charming. He is not only the best Perry Mason ever, but here he appears at his absolute peak. Lovely Helen Trenholme presents such an utterly charming Della Street, one can only wonder why she was not hired for the rest of the series. The other ladies are not far behind in the acting honors: ravishing Mary Astor, who has this vulnerable quality which makes her beautiful face so entrancingly sympathetic; Dorothy Tree, wonderfully mysterious.Warren William faces some excellent competition. As the bested District Attorney, Grant Mitchell has the sort of role he can put over with polish; but watch for Allen Jenkins as the hounding Sergeant Holcomb. It's a straight dramatic part without a trace of humor which Jenkins plays with consummate authority. I also enjoyed Harry Tyler as a bamboozled cab-man, and especially James Burtis as the persistent George Dobbs, one of Mason's investigators who assists Eddie Shubert in shaking down Miss Tree.Other characterizations that deserve mention are Arthur Aylesworth's deputy sheriff, Russell Hicks' playboy millionaire and Gordon Westcott's harried neighbor. Addison Richards brings a nice touch of teasing authority to the role of the judge. What a shame that other entries in the series didn't use this superbly fluid, cleverly scripted and most entertainingly acted entry as the model for all future Masons. In this one, as enacted by Warren William, Perry is much closer to Gardner's conception. As the city's most successful lawyer, Mason presides over a huge suite of offices, chock-a-block with clients and staff. He loves the publicity and success which enables him to be arrogant, masterful, belittling and choosy. With his secretary, Della Street, he is tenderly romantic. Everyone else, he orders about. This is the Mason we like, the Mason that Warren William so persuasively brings to life.

Perry Mason runs a big operation: Windows all across the front of his office building feature his name printed in big letters. He's so successful he can't even handle every case personally. –Such is our introduction to the great lawyer before we even meet him.Warren William is appropriately self-assured as the super-successful lawyer in this classy and well-plotted murder mystery.The complicated story involves a very nervous-looking man named Cartwright (Gordon Westcott) who comes to Mason with questions about his will—and about a neighbor's dog that has been howling for 48 hours. We soon learn that that neighbor, Clinton Foley (Russell Hicks), had once run off with Cartwright's wife…Cartwright had sworn to get even with them both and tracked them down and moved in next door….and soon enough the man Foley is shot dead in his house.The murder scene is particularly well done: We see Foley and his dog in the house, we see Mrs. Foley walk in, and we watch their brief confrontation. And then we hear the shots: We see Mrs. Foley's face and her reaction but not who fired the shots. A door swings shut….Mary Astor is excellent as Mrs. Foley—her expressive face never quite giving away all she is thinking. Allen Jenkins is good as always as the skeptical police sergeant looking for answers. Warren William gives a smooth performance as the masterful investigator whose work and methods are in the interest of justice but not necessarily popular with the police.It's well written and fast moving, too—with an ending that surprised me. Very enjoyable!

The Case of the Howling Dog, the first of the screen's Perry Mason movies moves quickly with pep and zip, has a rather ingenious plot line, and has Warren William give a good portrayal of the most famous lawyer of all time - real or imaginary. Warren William plays Mason in this film with an aloofness that disappears in later films where he played the same role, but in this first film it is primarily used to show us how important Mason is in San Francisco. The story has a nervous wreck of a man go to Mason to ask two questions - what can he do to stop the incessant howling from the next door neighbor's dog and what does he have to do to set up a will(with some further odd questions). Perry now has a case and we get some good old-fashioned mystery here as Mason and his corp of assistants work for their client. The end mystery's unraveling - though hardly realistic - is done with style and creativity. I have not read the Erle Stanley Gardner book, but I am sure that much of the mystery part of it is probably still intact. Beautiful Mary Astor stars as a woman in need of Mason's services. She gives her typical woman-in-peril performance with solid acting. The rest of the cast also all do fine jobs with Helen Trenholme(apparently only making two films in her career) doing a very fine job as a perky and pretty Della Street and Gordon Westcott excelling as the nervous man in a rather brief role. As first films in a detective series go, this one is a fine start to a good series. Warren William, playing the screen's Philo Vance that same year, does his level best to make two distinct characterizations which may also account for the Mason character being a bit stodgy here. In the next film he becomes much more fun and human so to speak.

Perry Mason sprang into screen life through 6 Warner Bros. films made from 1934, one year after his inception in book form by Erle Stanley Gardner. The movie series started out well, but as with so many other detective series of this type gradually petered out in quality almost film by film until fizzling out a few years later. Also it's not like Raymond Burr's Perry Mason I grew up with, Warren William has a vast organisation behind him, contrary to his future occupation as the Lone Wolf!Complicated story of a dog's howling driving a neighbour crackers leads to a sorry and sordid tale of multiple murder - and the howling is central to the plot too. You have to concentrate to follow the history of partner-swapping (after all, some of the Foley's and Cartwright's weren't even married!) but all is wonderfully resolved by Mason by the end. William was perfect for these kind of roles, his efficient and reassuring presence of mind imparting to cast and audience from the beginning that all will be eventually all right, even if in this case only if you don't say anything without him being present! How come Mary Astor landed the part of the woman with the shady past and inability to tell the truth so often? Allen Jenkins as a flatfoot doesn't get much of a part, but at least he got a chance to show off a rather natty moustache.Well worth watching and a pleasant opener for an attorney with a long career ahead of him.