That was an excellent one.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

"The Studio Murder Mystery" from Paramount Pictures in 1929 stars Warner Oland, Frederic March, Neil Hamilton, Eugene Palette, and Doris Hill.Actor Richard Hardell (March) has several enemies. One is his director (Warner Oland), another is his girlfriend (Hill) who finds out he's not going to divorce his wife (Florence Eldridge) and Hardell's wife herself.When Helen is accused of the murder, gag writer Tony White (Hamilton) is determined to solve the case. Many people don't realize that "sound" was different in each studio, as Warners had the license for the Vitaphone. Whatever Paramount owned was nowhere near as good, as the sound here is mushy, and when people speak too quickly, you lose what they are saying.This film differs from the era's talkies in that it moves at a good pace. With people not in the rhythm of sound yet, there are often big pauses between sentences, but not here. And people were still learning how to act in front of a camera. Many actors came from the stage, where performances are much bigger.One reviewer here didn't like Neil Hamilton, but I did. He's handsome and enthusiastic and if he seems maybe TOO enthusiastic, I think it was more the style of the era. Hamilton, who died at 85, played Commissioner Gordon on Batman. Interesting to see some of these people so young!You can get a look at Paramount sound stages on this film, too, which is fascinating, and there is a silent film being shot during one of the scenes.Good artifact.

It's rather easy for a contemporary viewer to spot the killer early in "The Studio Murder Mystery" (it practically uses the same gimmick as the even earlier Philo Vance cinematic debut "The Canary Murder Case", also made by Paramount and also with Eugene Palette in the cast, in the same role with a different name). But the movie is still fun to watch, especially for buffs of the genre who want to see it taking its first baby steps. Frank Tuttle (who also directed some Philo Vance films) was a director who adapted quickly to the new "talkie" era, and employed the advances of the medium (flashbacks, close-ups, etc.). The film does not feel very static. Also of interest is the presence of Warner Oland, who is excellent in an early, pre-Charlie Chan role. **1/2 out of 4.

However, I'd say this will probably be of interest to you only if you are into the early talkies or film history. I viewed a very good print of this film, so there are some out there.Richard Hardell (Fredric March) is a man who won a contest and opportunity to star in films, but he seems to be taking that opportunity to make enemies at every turn. His director (Warner Oland) suspects him of having an affair with his wife, Hardell's wife knows he's been unfaithful in the past and is suspicious that old habits die hard, and Hardell is actually having an affair with a young ingénue, Helen MacDonald, who finds out she's just one in a string of many girls on the side after Hardell has sworn his undying love. Finally, there is Helen's brother who knows about Hardell's wicked ways and how he is using his sister.Hardell is found dead on the set, a knife sticking out of his chest, and the question is, of course, who among the many who had motives and opportunity actually did it. Others have called this slowly paced, but I thought it moved along briskly with good performances by all. You can figure the mystery out yourself if you pay close attention to what is going on and differentiate what you know you saw versus what most people could assume they saw leading up to the murder.The best part of this film is getting a good look at the Paramount sound stages as there are some scenes in the film that actually show an early sound film shooting in progress. One key scene is definitely a shot of a silent film in progress, another has a sound film being shot complete with the old camera booths from the early sound era. The film itself has one foot in talkies and the other in silents as the scenes in which there is conversation are completely static - courtesy of sound technology of the time. You can also clearly see that the scenes in which the camera shows any movement are silent with some sound dubbed over them. This was a common technique in 1928 and 1929 as there was no other way to include action scenes in the Vitaphone era.I'd say the one distraction in this film is Neil Hamilton, who plays struggling studio gag writer Tony White who loves tragic figure Helen MacDonald from afar. I thought he was quite good when he played more serious dramatic roles, but here he's given the smirking wise cracking style of Lee Tracy and it just doesn't suit him.

I LOVE old mysteries, but this early sound film is a real "creaker". The action is snail-paced, and the early sound recording makes it difficult to understand what most of the actors are saying. All-in-all, a confusing film.