Cristi_Ciopron A comedy with Jean Parker, Veda Ann Borg, Tim Ryan (who has been a worthy scriptwriter and didn't really have the look of an actor), E. Gargan as the humbled, submissive copper, Fowley as the lover of the widow: one of Beaudine's best hours ever, a smart movie, deliciously played, sampling loveliest scenes comes across as useless, since this comedy charms in its entirety. Jean offers an awesomely funny role, as she's irresistibly joyful, wholesome and dynamic.It's also the movie where Kitty O'Day starts her solving mysteries; she's an irresistible, lovely person.The audiences are teased with an undressing scene.Beaudine could be proud of this movie. It's better than 'Midnight Manhunt', and way sexier, classier and lovelier.Jean was perhaps the best actress from her league, and here she seemed pleased with her role.Jean and Veda Ann both have made movies with Sekely, and both have been in movies with Carradine.

MartinHafer In the 1930s and 40s, tons of mostly low-budget B-detective films were made by various studios. Some featured better writing and production values (such as Fox's Charlie Chan and Columbia's Boston Blackie) but most were less prestigious productions with little to distinguish them. The latter is definitely the case with Monogram's "Detective Kitty O'Day". It's very typical of these detective films--with a know-it-all lead and super-stupid cops. The only thing that unusual is having a female lead, though there were a few other lady detective films (such as Torchy Blaine and Nancy Drew). As far as the production goes, Kitty was a VERY obnoxious character--much more than usual! She talked non- stop, butted into the police investigation and was difficult to like. Not one of the better films in the genre--with little to distinguish it due to pedestrian writing, acting and direction.

MikeMagi If you weren't around when Monogram and Producers Releasing Corporation were churning out grade Z pictures for third-rate movie houses, this is the perfect introduction to them. You have flimsy sets, even flimsier dialog, co-stars Jean Parker and Peter Cookson trying against insurmountable odds to rival Myrna Loy and William Powell and a yarn about a murdered stockbroker that makes no sense whatsoever. Even better, you have the talent of William "One Shot" Beaudine,a director prized by poverty row studios because he invariably found the first take he took so brilliant, there was no need to waste money shooting another. As a side-trip into cinema history, Kitty O'Day is of interest. As a movie, that's another story. And a pretty lame one.

Jimmy L. I mostly know Jean Parker from movies of the early 1930s (LITTLE WOMEN springs to mind) and I mostly associate her with teary-eyed victims of tragedy or sweet young romantic interests. Bland supporting roles in mostly dramatic pictures. The sweet daughter, the poor sister, the hometown sweetheart. DETECTIVE KITTY O'DAY (1944) showcases Parker as a comedienne. She goes for broke in the name of comedy and I was impressed. Jean Parker is the whole show.Made for B-level Monogram Pictures, DETECTIVE KITTY O'DAY is an inconsequential hour-long comedy-mystery programmer. There are no big names in the cast. The most recognizable actor after Parker is Edward Gargan, in the dumb police sidekick role he'd played countless times at the major studios. Veda Ann Borg lends sex appeal to the supporting cast.Kitty O'Day (Jean Parker) is a secretary who drags her boyfriend Johnny (Peter Cookson) around as she tries to solve her boss's murder. Every time the police run into the amateur sleuths a dead body turns up.Parker, pretty as always, handles the comedy with aplomb. Kitty O'Day is plucky and bright, in her own silly screwball way. She delivers zingers with a smile, uses accents and props, faints, crawls on the ground, and even wears a disguise. With Johnny along for the ride, the investigation is full of slip-ups, goofs, and misunderstandings, but Kitty somehow seems to land on the right track.For the sake of comedy the script allows for some lapses in logic, but they are easily overlooked. The film is enjoyable silliness from start to finish. Strictly a low-budget, small-time affair, but Jean Parker is fun to watch at the center of it all. It's neat seeing a different side to the actress a decade after the 1930s roles I know best.