Robert J. Maxwell It's as if someone at Warners had discovered a script for a B murder mystery in the rear of some almost forgotten file cabinet and decided it would be clever to impose the elements of one of the fashionable screwball comedies on it. The result is a B murder mystery with some screwball elements lathered over it.It's not a failure. The pace is so fast, the abrupt conversational exchanges are flung back and forth with such speed, that some people might classify it as "frenzied." But "Bringing Up Baby" it is not.I doubt very much that anyone will care about who gets murdered and who the murderer is. And the romance between a handsome young Henry Fonda, as a newspaper editor, and Barbara Stanwyck as a flighty socialite, evolves out of nothing much.But those are the kinds of slapdash properties that you expect to find in a B feature. And this one must have had a substantial budget. The writing may not be nearly as outrageous as it thinks it is, but there are some good lines."I don't know which is more pernicious -- you or anemia." Half a dozen young women are held at gunpoint. "If you kill one of us you'll have to kill all of us," and another girl exclaims, "Quit that communist stuff!" There are one or two successful sight gags too, one involving Fonda and Hattie McDaniel, that will bring a smile if not a full-blown laugh.Stanwyck is okay. Those used to seeing her in later roles, when her features had hardened, may not realize how attractive and vulnerable she seemed in the 1930s. Fonda can handle his comic role but the script presents him with problems that no human being could conquer. I can't avoid mentioning Olin Howland in a small role who was later to give the greatest performance ever committed to celluloid in "Them!" ("Make me a sergeant in charge of the booze!")Best of all is Sam Levene in the James Gleason role of the tough, cynical, Brooklynite police lieutenant. Gleason was convincing enough when he snarled, but his snarl was believable. It lacked any dimension other than anger. Levene is better at the role. He snarls at everyone too, but with a quality that is both resigned and humane. Underneath that rebarbative demeanor, you sense that Levene has a heart.

jpickerel First, I avow that I am a Barbara Stanwyck fan. Secondly, I admit that I can tolerate Henry Fonda only in small doses. Together, they manage to make this film mediocre. The plot is predictable, and the dialog forgettable. Even the presence of Sam Levene, as the police lieutenant assigned to the 'case', is of little help in making this mish mosh work. He (Levene) played this same part many times in many movies during the thirties, and could have phoned this role in. In fact, I think he may have. The only bright spot, if there is one, would be Hattie McDaniel, as the maid of the rich, madcap (I hate that over used word!!) Miss Manton. Where Miss Manton obtained the money to live in the very lap of luxury is never explained. Alas, though, McDaniel is around for precious little of the footage. The rest of the supporting cast, as Miss Manton's débutante friends, are attractive, semi-talented and numerous. None of the names will ring any bells. Ah, but then again, maybe I'm just having a bad day...

Greenster In the first of their three co-starring vehicles, Barbara Stanwyck and Henry Fonda shine in character clashing along with many illustrious supporting players in this Golden Era madcap Murder Mystery Comedy."The Mad Miss Manton" (RKO, 1938) follows the saga of wealthy débutante Melsa Manton (Barbara Stanwyck) and Hilda (Hattie McDaniel), her efficient housekeeper.Add to the program seven débutantes abiding in the lap of luxury, and supporting their comrade in society: Helen Frayne (Frances Mercer) Pat James (Whitney Bourne) Myra Frost (Linda Perry) Kit Beverly (Vickie Lester) Jane (Eleanor Hansen) Dora Fenton (Catherine O'Quinn) Lee Wilson (Ann Evers).Peter Ames (Henry Fonda), an ambitious newspaper reporter, Lieutenant Brent (Sam Levene) and Officer Sullivan (James Burke), who are all summoned to investigate the murder of a wealthy business leader, whose body unaccountably disappears, while another mysteriously surfaces.When Peter and Lieutenant Brent charge Miss Manton and her ilk of lovely Park Avenue débutantes with attempting to pull a prank, Melsa decides to take matters into her own very capable hands, with help from her associates, who, if you read between the lines, may be considered to exhibit characteristics of the Seven Capital Vices.Although these are not quite developed during its 108-minute screen story, traces of Avarice, Envy, Gluttony, Lust, Pride, Sloth and Wrath are detectable among the fashionable set of peers.One often expresses her anger toward the behavior of the establishment. One constantly searches for snacks. One devotes her attention to the gentlemen in her sight. Another sort of lies around without much to do, as others bathe in wealth and pride of their collective station in life, and so forth and so on.Suspects for the film's central crime display effective performances in well-cast roles, most bringing familiarity to the screen: Bat Regan (Paul Guilfoyle) Sheila Lane (Leona Maricle) Ronnie Beldon (William Corson) Edward Norris (Stanley Ridges) Frances Glesk (Penny Singleton) Mr. Fred Thomas (Miles Mander) and Gloria Hamilton (Kay Sutton).Rounding out "The Mad Miss Manton" cast includes some familiar faces, each bringing a special quality to an all-too-brief scene along the way: John Qualen as the Subway Watchman Robert Middlemass as the District Attorney Grady Sutton as the D.A.'s Secretary Olin Howland as Mr. X Charles Halton as Popsy, Melsa's Lawyer Vinton Haworth as Peter's Secretary Irving Bacon as Mr. Spengler, the Process Server Bess Flowers as a Charity Ball Guest and Gerald Pierce as the Newsboy.

MartinHafer This was one of many Hollywood films of the 1930s that tried to cash in on the Nick and Nora Charles phenomenon. Americans loved the Thin Man movies and so there were many similar films, such as this film. THE MAD MISS MANTON was similar to the Thin Man films because it relied heavily on sophisticated comedy and the actual murder plot was, at best, secondary. Plus, like Nick Charles, Miss Manton was a rich society party girl.Since the plot isn't exactly relevant, the repartee between Barbara Stanwyck and Henry Fonda is excellent and a lot of fun to watch. In particular, I liked the scene when they first met--she slapped him and without any hesitation, he slapped her right back! In addition to their wonderful scenes together, Hattie McDaniel was excellent in a supporting role. Instead of the usual Black maid part, she was very sassy and smart--dishing it out every bit as well as anyone else! So if you are looking for a fun "turn off your brain and just enjoy" film from Hollywood's Golden Age, look no further. You're bound to enjoy this film immensely--provided you don't worry about the unnecessary details (such as the plot or how unbelievably stupid the cops are in the film).