Solid Mystery With Good Atmosphere & An Interesting Cast

Involving murder on a movie set  mystery..

California Tiffany Studios - 4516 Sunset Blvd., Hollywood, Los Angeles, California, USA

Bela Lugosi in Murders in the Rue Morgue (1932)

Bela Lugosi, Vince Barnett, John Berkes, Lew Kelly, Wanda McKay, and Tom Neal in Bowery at Midnight (1942)

Moon Carroll, Cyril Chadwick, John Davidson, Mary Forbes, Holmes Herbert, Gretchen Holland, Leila Hyams, Bertram Johns, Frank Leigh, Helene Millard, Conrad Nagel, Charles Quatermaine, and Margaret Wycherly in The Thirteenth Chair (1929)

Bela Lugosi and Sally Blane in Night of Terror (1933)

Boris Karloff, Katherine DeMille, and Marian Marsh in The Black Room (1935)

Donald Cook and Genevieve Tobin in The 9th Guest (1934)

Louise Brooks in The Canary Murder Case (1929)

Bette Davis and Edward G. Robinson in Kid Galahad (1937)

Bela Lugosi and Adrienne Ames in The Death Kiss (1932)

Yeah. The first thing I ask myself when I investigates a murder is 'who done it'.

And the next thing I ask myself is 'who could do it.'

Then I ask myself again 'who wanted to do it.'

Bela Lugosi, Adrienne Ames, and David Manners in The Death Kiss (1932)

Vince Barnett and David Manners in The Death Kiss (1932)

Edward Van Sloan in The Death Kiss (1932)

Bela Lugosi and John Wray in The Death Kiss (1932)

Bela Lugosi and James Donlan in The Death Kiss (1932)

Bela Lugosi

David Manners

Adrienne Ames

Madelon St. Dennis

Barry Barringer

Gordon Kahn

Murder during film shoot sparks search for a killer.

Edwin L. Marin

The Death Kiss

Solid Mystery With Good Atmosphere &amp; An Interesting Cast

Despite its low-budget look, &quot;The Death Kiss&quot; is a solid mystery, and it does a good job of creating a believable movie studio atmosphere as the background to the main story. It&apos;s also interesting to see Bela Lugosi, Edward Van Sloan, and David Manners reunited in a setting so different from &quot;Dracula&quot;. While some of its limitations are rather obvious, it&apos;s a pretty good effort for a low-budget feature from the early sound era.

The opening sequence might be the best part of the movie, as it cleverly sets up the mystery, introduces most of the characters, and illustrates the movie&apos;s themes. In the main part of the movie, it generally follows convention, with Manners as an eager amateur who is usually a step ahead of the police. The pace is also a little uneven at times, which was relatively common in the early 1930s, but there are always some interesting details and developments that keep it together.

Van Sloan, as a movie director, gets some pretty good opportunities. Lugosi is always a welcome addition to any suspense or mystery story, and he makes the most of a character who doesn&apos;t really get all that much to do. As the lead, Manners is likable, though often a bit bland. Adrienne Ames is adequate as the heroine, and the minor characters are given some occasional moments of their own.

The result is a decent mystery that keeps you guessing. It will probably be of interest mainly to those who are already fans of the era and genre, but with that in mind it&apos;s not bad.

Despite its low-budget look, "The Death Kiss" is a solid mystery, and it does a good job of creating a believable movie studio atmosphere as the background to the main story. It's also interesting to see Bela Lugosi, Edward Van Sloan, and David Manners reunited in a setting so different from "Dracula". While some of its limitations are rather obvious, it's a pretty good effort for a low-budget feature from the early sound era.

The opening sequence might be the best part of the movie, as it cleverly sets up the mystery, introduces most of the characters, and illustrates the movie's themes. In the main part of the movie, it generally follows convention, with Manners as an eager amateur who is usually a step ahead of the police. The pace is also a little uneven at times, which was relatively common in the early 1930s, but there are always some interesting details and developments that keep it together.

Van Sloan, as a movie director, gets some pretty good opportunities. Lugosi is always a welcome addition to any suspense or mystery story, and he makes the most of a character who doesn't really get all that much to do. As the lead, Manners is likable, though often a bit bland. Adrienne Ames is adequate as the heroine, and the minor characters are given some occasional moments of their own.

The result is a decent mystery that keeps you guessing. It will probably be of interest mainly to those who are already fans of the era and genre, but with that in mind it's not bad.

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The Death Kiss

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