The indomitable Charlie Chan returns in this war-time espionage thriller, which is neither as silly nor as blatantly jingoistic as most movies of its type. Although connoisseurs will experience no difficulty in picking out the master spy, there are not only some diverting plot twists along the way, but the pace is often breath-takingly rapid. Director Harry Lachman indulges his usual penchant for close-ups. True, I don't usually like too many close-ups, but here they are not only astutely composed but dramatically very effective. As usual, Toler is excellent and the support cast first-rate. And it's a pleasant surprise to find Donald McBride's character not only more restrained, but more sensible than usual. However, despite her position on the very top of the support bill, Marjorie Weaver has an extremely small role – about a quarter the size of John Sutton's and he receives no billing at all! Chan's bon mots of Chinese philosophy are fairly amusing and Sen Yung's number–two son is a more effective offsider than usual and is not required to descend to tiresome "comic relief". Production values of course are first class. Miss Valerie wears some wonderfully attractive costumes, while Virgil Miller's photography remains very crisp, despite being often forced to work very close to the actors. Film editing is also remarkably smooth despite the necessity to integrate angles that are not quite suitable for ideal matching. And, as usual, Chan's make-up is faultless,
Review of Murder Over New York
