Incannerax What a waste of my time!!!

Executscan Expected more

ClassyWas Excellent, smart action film.

Teddie Blake The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

bkoganbing When sound came to the motion picture there must have been a scramble for written material of any kind for the studios. Once it was proved it could be done, the public wanted to hear their screen idols speak and they had to have dialog.What works on stage did not often work on screen and when The Thirteenth Chair was made the studios were still getting sound right. We got all kinds of dialog, but here it was all kind of static and dull. And the cast generally overacts in this filmTwo performers here stand out. Margaret Wycherly best known as the mothers of Alvin York and Cody Jarrett later on was in the original cast on Broadway when it opened in 1916. She plays a psychic medium who is brought in to solve a murder already committed. During the séance the guy who arranged the séance is also dispatched. After that the cops call in.Lots of mysteries always have that climatic scene where the detective gathers the suspects be it Nick Charles or Jane Marple. But this is a film where the whole film is that scene. The other actor is Bela Lugosi who in this mystery set in British India speaks that marvelous Hungarian as a Scotland Yard detective.Lugosi acquits himself well, but he's just so well known in those horror films I expected him to be the murderer.Everybody overacts, but they were learning on the job the art of acting in talking pictures.

kidboots This film proves that in 1929 a lot of talking films were still primitive and although most of the cast seemed reasonably at ease with dialogue, John Davidson's perfect and slow pronunciation really stuck out. There is even a scene toward the end where people are grouped (obviously waiting to begin the scene) and after a few seconds they start talking and mingling. "Locked room" movies were all the rage in these early days - one set was all that was needed and the studios could then show off their sound skills. For MGM, who had already made "The Broadway Melody", "The Last of Mrs. Cheyney" and "Halelujah", this film was static and unimaginative. The magic that Tod Browning had weaved with Lon Chaney in the 20s seemed to evaporate when talking pictures appeared. Apart from "Dracula" and "Freaks", which harked back to his days as a director of shock and suspense, he spent the rest of his career in programmers and remakes of his silent hits.It also feels like it has a few minutes missing from the start - or I'm a bit dense!! Everyone seems to know what's going on already - renowned womaniser Spencer Lee has been killed by a woman - but which woman??? Ned Wales (John Davidson) is the only person in the house who liked Lee (Spencer had saved him from drowning when they were children) and who is determined to find his killer. Even he acts suspiciously, trying to bribe the servants (again, the action obviously takes place in India but the audience is never told). There is an establishing shot of the two leads, Richard Crosby (Conrad Nagel) is trying to convince Helen O'Neill (Leila Hyams) to marry him. It's the old "you may be only my mother's secretary but you're good enough for me" routine. Nagel and Hyams may have been the leads but they are only required to stand around looking worried, fearful, determined etc. The stage is set for the show down between the real stars - wonderful Margaret Wycherley as the medium Madame La Grange, an unassuming "nanny" type, who nevertheless, has a few secrets and menacing Bela Lugosi as Inspector Delzante and he still manages to act like Dracula. Even though that film role was 2 years in the future he had played it on Broadway on and off during the 20s. Just to hear him say "What you propose is too horrible to contemplate - but we will do it!!!Margaret Wycherley was a character actress supreme. She really hit her stride in the 40s and even though you struggle to remember some of the movies, you definitely remember her ("Johnny Angel" - she played a domineering nanny). Of course she was Ma Jarrett in "White Heat" and Ma Forrester in "The Yearling" - "my boy, my poor crookedy boy". In "The Thirteenth Chair" she was a breath of fresh air and proved stage actors weren't always stiff. Her husband, Bayard Veiller wrote the original play "The Thirteenth Chair" that had a healthy run of 328 performances, back in 1916 and in which Margaret Wycherley played the same role of Rosalie La Grange.Recommended.

MARIO GAUCI Some years back, this film had been scheduled for broadcast on TCM UK as part of a Tod Browning retrospective – but what they actually showed was the 1937 remake!; my brother had watched it (and, in hindsight, it followed the original pretty much scene-for-scene, even down to the set design) – though no classic, he said it was a far more satisfying viewing experience than the incredibly creaky earlier version… This being the first collaboration between Browning and Bela Lugosi, I had high hopes for it – but these were quashed when it became evident after the first reel of tedious conversation that the film's main concern was to appease the still-novel sound technique, and consequently the result is stagey and extremely static. The thriller plot isn't exactly exciting either; even less appetizing is the ostensible British-Indian setting (with the characters' affected accents and upper-class demeanor – not to mention the over-use of corny idiosyncratic idioms such as "I say", "rather" and "now look here" – rendering the whole risible more than anything else)! Apart from this, there are a few unintended howlers: Margaret Wycherly (as a fake medium) pleads with Police Inspector Lugosi (if anything, his undeniable screen presence is already evident) to give her some time to 'work out' who the culprit of the double-murder really is (the evidence points to her own daughter, played by Leila Hyams!) – she hears a tapping and is deluded into thinking that the spirit world has genuinely made contact with her…but then Lugosi enters the room and, in his unmistakable accent, straight-facedly tells her "I knocked twice – you didn't hear me!", at which my brother and I almost fell to the floor in convulsions of laughter!!; the editing is really sloppy, too: during one high-angle shot of the main set, a mike is seen being rapidly pulled up out of camera range – and even worse are a couple of instances where a person walks off-screen, ostensibly into the next shot, to another part of the set…but each shot is held on the other actors for an absurdly long time, so that it appears to take forever for this person to walk just a few paces!! THE THIRTEENTH CHAIR marks the third non-horror Browning Talkie that I've watched – even if both this and MIRACLES FOR SALE (1939) deal with murder and occultism and could, therefore, still be linked to the genre. Much has been said about the director's apparent slackening with the coming of Sound: however, flawed though they may be, the 4 straight horror films he did throughout the 30s are infinitely better than the rest – which I've always found stylish and bizarre enough to suggest that Browning wasn't as much at sea during this period as has been suggested

dsayne You have to be a fan of Bela Lugosi to really enjoy this film. The pacing is slow, the direction is wooden, and many of the supporting cast is just so-so.Being a filmed stage play in the very early talky era, The Thirteenth Chair doesn't have much action. What it does have is Bela Lugosi who becomes the focus of the film as Inspector Delzante as soon as he makes an appearance. There are few surprises to anyone who has seen very many mysteries, but a few genuinely spooky scenes occur in the darkened room as the sound takes over and your imagination is allowed to supply the imagery. On the prints that I have seen the sound is of a poor quality with a high level of hiss as in so many older films. It takes some dedication to sit through, and listening carefully to understand all the dialogue. It is fascinating to see Lugosi as a key supporting character before he was typecast.