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I'll tell you why so serious

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

One of the most extraordinary films you will see this year. Take that as you want.

This is a gorgeous movie made by a gorgeous spirit.

Is there such a thing as a slapstick murder mystery? I had to convince myself that this was more than just a crime drama with some comic relief thrown in. There's a fair amount of witty dialog and interesting curve-balls thrown at the viewer, like the screaming peacock on Alma Brehmer's balcony. Thinking about that now, why would a peacock be there in the first place?The see-saw between humor and drama may not appeal to a lot of viewers, and I have to admit it was distracting until I decided to go with the flow. Then it became a confident battle of wits between attorney John Webb (Pat O'Brien) and the unknown killer attempting to set him up for murder. For a 1939 'B' mystery this one was stacked with a talented cast, O'Brien leading the way with Edward Arnold, Alan Dinehart, Claire Dodd, Phyllis Brooks, Eve Arden and Broderick Crawford before he began to look like Broderick Crawford. I have to side with the prevailing opinion here that Ruth Terry probably wore out her welcome as Webb's wannabe girlfriend of eighteen years and two months.I'll have to watch this again to better understand how the resolution makes sense. The identity of the murderer seemed like a forced twist to disavow the other suspects and I won't spoil it here, you'll have to catch it yourself. Then for a real head spinner, O'Brien's character has a sudden change of heart and puts a final move on Miss Seymour (Terry) to close out the picture. Like I said, a slapstick murder mystery.

Fast talking lawyer Pat O'Brien sets out to do a job—on the level, but only for the money, it seems. The "job" is fighting the highway monopoly controlled by smooth talking crime boss Edward Arnold. Broderick Crawford is O'Brien's law partner and pal; they set out to take down Arnold and his empire.Sounds like a solid drama, but…soon silly girl singer Ruth Terry is telling O'Brien "I like you" at a party. He half-heartedly discourages her enthusiastic advances on him, and he doesn't quite believe that she's eighteen years and two months old, as she says; however, she persists in chasing him around for the rest of the movie, wearing down his resistance and distracting him from the real plot—A woman is murdered and the few clues point toward O'Brien. Who really did the murder, and why is O'Brien being framed? –There's the mystery O'Brien has to sort out, with assistance (and frequent interference) from partner Crawford, from the kid singer Terry, and from the cops—who may be Arnold's stooges.Bizarre humorous touches distract somewhat from the mystery plot; for example, the scene in which all of the suspects remove their shoes to be examined for blood stains, and Edward Arnold has an embarrassing hole in the toe of his sock. Terry and O'Brien giggle madly…even though the corpse is still lying in the next room. It just doesn't quite fit. I would have liked to see more of three other women characters: Claire Dodd as an early victim (intimate friends with more than one suspect), Eve Arden as O'Brien's secretary (smart and ready), and Phyllis Brooks as Arnold's daughter (conscience crying out as she learns about her father). All are very good in too small roles. We do get plenty of Ruth Terry…who is actually very good herself, except that hers and O'Brien's relationship never really convinces, the chemistry never really gels. Unfortunately for her, she comes across as rather annoying.One truly chilling moment involves a discovery at a desk—a shock that is totally unexpected and perfectly executed. Otherwise, the plot is passable, the cast a bunch of pros, the dialog zippy—and the romance and humor a little oddball. Fun—just a little unsteady.

Ever get stuck watching a movie and you couldn't wait until it ended? This was one of the few that I've seen. Excruciating is a good word. Only a great cast saves it from a lower rating - makes you wonder what they could have done with better material."Slightly Honorable" can't decide if it's a comedy or a mystery picture and fails on both levels - not funny and not very mysterious. Ruth Terry is 'cute and perky' but is an annoying presence. Eve Arden is wasted, as is Edward Arnold. Pat O'Brien does his best but it's not enough. The disjointed storyline is not believable and not worth recounting.If this picture is shown on a rainy day and you have nothing to do, find a good book.

Frank Presnell's first of three crime novels, "Send Another Coffin", is the basis for this film, completed the year following publication of the original, featuring flinty Ohio attorney John Webb (Pat O'Brien) with his wife Ann (Ruth Terry), the duo patterned somewhat upon Dashiell Hammett's Nick and Nora Charles, although Webb is less suave than Nick and more eager to stir political pots. A corrupt state politician, Vincent Cushing (Edward Arnold), is the principal target for Webb's reforming urge, and when Cushing's mistress Alma (Claire Dodd), erstwhile flame of Webb, is murdered, nearly all of the major characters seem to have a motive, including Webb, who faces most of the heat from the homicide investigation although he perceives himself to be "slightly honorable" when compared with those about him. The work includes a strong comedic element along with its murder mystery and socially conscious themes. Vivacious Terry, with her patented energy and spirit, steals the film in what she states is her favourite role, a part for which she is promised by producer Walter Wanger and director Tay Garnett that the former night club singer/dancer will be spotlighted in a musical specialty number, and that she is, one that is perfectly woven into the screenplay, this while under personal contract to Howard Hughes who loans her to Wanger for this production. A cardinal pleasure inherent with film reviewing is discovery of works that have not received an amount of recognition that they deserve, and that is the case in this instance, for it is a piece that includes among its attributes sparkling dialogue, skillful acting and, especially, that mastery of narrative pace and rhythm that marks the best efforts from Garnett who here cunningly blends details for his established mise-en-scène within the script, as is his custom. Even without his foremost mannequin, Marlene Dietrich, Travis Banton's gowns are noteworthy and there is a strikingly illustrative score from Werner Janssen.