lugonian MR. MOTO TAKES A CHANCE (20th Century-Fox, 1938), directed by Norman Foster, stars Peter Lorre in the title role of the Japanese sleuth based on the character created by John F. Marquand. For this fourth released installment out of eight, this edition, far from the greatest, has its moments, but many scenes best described as weak. In spite of its purposely slow pacing and lack of any underscoring for suspense build-up or mood tension, MR. MOTO TAKES A CHANGE interestingly was the one with the most revived on commercial television when formerly shown on New York City's WOR, Channel 9 from 1969 to 1977. As much as this being the studio's attempt for another "Charlie Chan" franchise, this short-lived movie series succeeds mostly due to the star presence by non-other than Peter Lorre.Taken from an original story by Norman Foster and Willis Cooper, the plot opens with Victoria Mason (Rochelle Hudson), an aviatrix traveling alone around the world in her private airplane, flying over Cambodia. Once near Tons-Moi, she takes out a flare that sets her plane on fire, thus parachuting to safety before the plane crashes. While in the jungles, Victoria meets with Mr. Moto (Peter Lorre), a Japanese detective on assignment posing as an archaeologist searching for ancient ruins for his museum; Marty Weston (Robert Kent) and Chick Davis (Chick Chandler), a couple of newsreel photographers from Chicago; The Rajah Ali (J. Edward Bromberg), a ruler who intends on making Victoria his next wife; and Boko (George Regas), a high priest who wants all whites out of Asia, and promising a bloody day of deliverance. After Chick obtains some movie footage of the Rajah, a poison dart blown from a blowgun suddenly hits and kills Keema (Gloria Roy), the high priest's wife. The cameramen are accused of the curse and sentenced to be thrown into a well, but are saved by an ancient warrior whose "eyes can see through rocks as well as walls." As Mr. Moto sends out his informative news reports about hidden stored munitions to British Intelligence through the use of carrier pigeons, unknown to him, his birds are being shot in flight with messages read and destroyed by someone aware of Moto's secret mission. Later, Moto, Victoria and the cameramen face danger as they are held prisoners in the temple by Boko and Captain Zimmerman (Fredrick Vogeding), surrounded by high explosives inside and gunshots being fired their direction from the outside.In tradition to the series, some characters in the story have hidden secrets about their identity. For Mr. Moto, whose usually works alone on his assignments, also goes about donning various disguises in the similar manner as Sherlock Holmes. Robert Kent and Chick Chandler as newsreel photographers enact their roles in their pre-Abbott and Costello manner, with the exception that both men are thin rather than the fat and skinny combination. Kent is the romantic type interested in the lady aviatrix (Hudson), a character somewhat inspired by Amelia Earheart, while Chick Chandler is the comedy relief who gets himself in trouble with his antics, ranging from falling into a tiger's pit, to demonstrating tricks to the Rajah, one that involves the Rajah's most precious watch, and so forth.Not shown regularly on commercial television since the 1990s, MR. MOTO TAKE A CHANCE, and other installments in the series, have become available for viewing on DVD. Even at a brief 64 minutes, the film on occasion seems a bit longer than it actually is, but with Lorre's know-how performances that manages to make this a watchable little item. Next released installment: MYSTERIOUS MR. MOTO (1938). (*1/2)

museumofdave Has it occurred to anyone else who has trekked through the undergrowth of this jungle thriller that at last we have the origins of Yoda? Fans of white-suited Mr. Moto may be aware he loves to masquerade in order to manipulate the unwary and the villainous, and in Mr. Moto Takes A Chance, Peter Lorre slips on a disguise...well, you just have to see it to believe it! It also appears that the studio's Central Casting dragged a couple of folks off of Hollywood Boulevard and strapped them into what might be Neo-Asian Drag, as it is a little difficult to know from looking at the poor things exactly what cultural background they are supposed to represent.There's also an ancient temple crawling with vines, a cobra in a basket, and all the trappings of a wonderfully silly Saturday afternoon matinée adventure--all this and Rochelle Hudson! Not one of the best Mr. Moto adventures, especially when Lorre, in his Moto makeup, spends far too much time under another layer of disguise to mystify the villainous as well as willing viewers--that said, if Peter Lorre's in it, the film is probably worth a look!

maksquibs If you exclude MR. MOTO'S GAMBLE which is really a 'Charlie Chan' pic, this is the least of the Moto series. The workable plot concerns a munitions warehouse hidden in a Cambodian temple, but there's a poverty row feel to the thing. Not so much in production values, but in the writing & execution, as if everyone was just going through the motions. Peter Lorre's Moto spends a third of the picture as an ancient holy man (looking & sounding like a precursor to Yoda from STAR WARS), and combining the comic relief with the romantic subplot only makes things worse. If this happens to be your first MOTO don't let it be your last. Six of the eight adventures are tremendous fun, so hang in there.

JoeKarlosi I've only seen the first three Mr. Moto films at this point but this was easily the least of them so far. Mr. Moto (Peter Lorre) poses as an archaeologist in a Cambodian jungle to sabotage the anti-government plans being cooked up by leader Rajah Ali (J. Edward Bromberg). He is helped out by a female spy (Rochelle Hudson) who has "conveniently" crashed her own plane on the island. This one plays very much like an old Republic serial. Detracting much from whatever enjoyment there is here are two silly American newsreel photographers who work their way into the story, providing what I suppose they think is comic relief. ** out of ****