In its early days, Hollywood turned out some engaging films about ghoulies, ghosties, long-legged beasties and things that go bump in the night. Let me offer an admittedly off-beat film recommendation from the early days of talkies: 1931’s Murder by the Clock.
The plot centers on the Endicotts, a wealthy family in decline. The parsimonious matriarch of the clan, Julia Endicott (Blanche Friderici), lives in fear of a Poe-style premature burial and laments the fact that her direct heir is a musclebound half-wit (Irving Pichel, in a quasi-Frankenstein Monster sort of role). Julia reluctantly decides to leave the family fortune to her drunken, ne’er do well nephew (Walter McGrail). But his scheming, sexually voracious wife (Lilyan Tashman) isn’t in a mood to wait for Julia to die of natural causes, and begins using her considerable feminine wiles to get multiple men to work her evil will. Murders and mystery ensue.
Fair warning: Movie sound technology was not well-developed when this film was made. Microphones on the set were few in number, often in fixed positions and of low quality. As a result, actors had to talk more slowly and clearly and not move around too much as they did so. This understandably comes across as stilted to modern audiences. But as with the famous Lugosi/Browning Dracula which came out the same year, if you can let those limits of early talkies go and just enjoy a scary story well told, Murder by the Clock will greatly entertain you.
In style and plot, this film is an agreeable cross between the haunted house pictures of prior years and the monster movies that were just becoming popular (like Dracula, Frankenstein also came out in 1931). The other enormous appeal of the movie is the campy, vampy work of Tashman, in a part that screams “pre-Hays Code”. Dressed in a series of outfits that leave little to the imagination, she sexually disables virtually every male character in the story (Tashman was apparently a sexual dynamo in real life as well, though her energies were usually directed at women rather than men, allegedly including Greta Garbo). Tashman has a lot of fun going way over the top and it’s intentionally funny for the audience too, as were many of the classic monster movies of the 1930s.
The atmospheric photography is another asset of Murder by the Clock, and amplifies the mood effectively. That’s a credit to Karl Struss, one of the first famous cinematographers, who worked with many of the early giants: Murnau, Griffith, DeMille and Chaplin. Struss gives fans of scary movies what they want: eerie shots of dusty secret corridors, foggy graveyards, and killers skulking through abundant shadows
If you just can’t stand the technically-imposed limitations of early talkies, this movie is not for you. But otherwise Murder by the Clock offers creepy, campy fun as well as being of historical interest for its look and pre-Hays code salaciousness.
p.s. Pachel went on to direct an ever better pre-Hays code film that I recommended here two years ago, The Most Dangerous Game. Note also that Murder by the Clock is in the public domain, and you ought to be able to find it for free online.