As Good As It Gets

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Copyright 7 August 1936 by 20th Century-Fox Film Corp. New York opening at the Roxy: 14 August 1936 (ran one week). U.S. release: 7 August 1936. 6,300 feet. 70 minutes. SYNOPSIS: A gambling syndicate moves in on a Melbourne Cup winner.NOTES: Number twelve of the sixteen pictures made by Warner Oland in the series, and the first of three to be directed by Lucky Humberstone (who also directed Sidney Toler in his initial entry, Charlie Chan in Honolulu). Shooting from 15 May 1936 through 18 June 1936. Locations filmed at Santa Anita Park, Arcadia, California. COMMENT: For once the screenplay plays scrupulously fair with viewers. Not a clue is hidden away from our sight, to be suddenly produced by the detective at the climactic unmasking of the villain. Everything is played out in front of the audience and often explained, but nonetheless Mr X is most cleverly concealed. Even I didn't penetrate that intriguing business with the fake letters, though Charlie's motive is commendably simple and the actual clue itself is quite prominently thrust before our eyes on no less than two occasions.What's more important, however, is that Race Track can in no way be described as a talk feast. In fact, it emerges as one of the most incident-packed of the whole series. Maybe I missed a few, but I counted two murders, two fires, two shootings, two stunt-filled horse races, one explosion, and at least one hair's-breadth escape. Nor do the writer's stint on supplying Charlie with some typically ready rejoinders, including the following bon mots: "Good wife best household furniture"; "Smart fly keep out of gravy"; "Easy to criticize, more difficult to correct"; "Foolish to seek elsewhere when great treasure hidden under nose"; "Rabbit run very fast, but sometimes turtle win race"; "Truth sometimes like stab of cruel knife."No other actor can match Warner Oland at his best (as here) for smooth charm, convincing Orientalism and delicious delivery. Alan Dinehart (love his hat!), Gavin Muir, Helen Wood and Frankie Darro contribute some fine work in support, and there's a stand-out performance from the cinema's number one seedy ship-steward, John Rogers who has some delightful run-ins with Chan's number one son, Keye Luke. I also enoyed the antics of "Lollipop", the clever monkey who offers more than a comic diversion, but provides Chan (and us) with a vital clue. Keen film buffs will also relish the chance to catch director Lucky Humberstone as the dapper gambler who causes Charlie and son to kidnapped. (And as for Lucky's actual direction, it rates as fast, smooth, ultra-proficient and even inventive. Just look at those swish dissolves). A classy production all around, Race Track rates as deservedly one of the most popular movies in the entire 53-picture series.

The story begins with Charlie Chan giving a lesson is blood stain pattern to the Honolulu police, but that is interrupted by news of a horse race which excites everybody, and the policemen all place their bets. Unfortunately the favored horse loses. But that horse, along with their fellow racehorses, are taken aboard a ship from Australia to Honolulu, and en route the favored horse's owner is murdered, supposedly by being kicked by a horse. Chan is called in and quickly proves otherwise, but this is only the beginning.The ship goes to the U. S. mainland where the horses are to race, but there are some gambling racketeers behind the scenes-what do they plan to do, and can Chan foil them? Again the story keeps you guessing, and comic relief aplenty is provided by Number One Son and his antics. There is another stereotypical high-strung black person who plays a minor role in this movie. (The problem is less that such characters exist than the fact that black people never seem to be cast in any other roles in that era.)

The title is a partial misnomer: about half of the movie takes place on a ship. The actual horse-racing scenes are well-filmed, but the movie in general is forgettable. The biggest issue is the anonymous supporting cast: it's hard to tell any of the characters apart, and none of them inspire any interest, sympathy, or even antipathy. The exceptions are, of course, Warner Oland, who is solid as Charlie Chan and whose aphorisms are the best quality of the film, and his Number One Son, likably played by Keye Luke. Oland has the single best moment in the film when he says to the culprit, with deadpan seriousness, "You convict self. Thank you so much"! My other favorite Chan line is probably "Suspicion often father of truth". ** out of 4.

Like a breath of fresh air, director H. Bruce Humberstone breathes new life into the Warner Oland Chan series. A good murder mystery, and one that the viewer might actually solve if s/he is very observant, we are treated to Chan and No. 1 son Lee crossing swords with a gambling syndicate and ultimately unmasking their leader. `No man is poor who have worthy son.' We know that a horse has been manipulated and abused by its trainer Bagley but we still do not know who is the brains and money behind it all even after the gang is arrested. Chan outsmarts and outwits the leader who is tricked into revelation. Although this final exposure is initially unseen by the audience, there is a major clue played out earlier that should lead the viewer to suspect the right person – if you are watching. And of course there are many misleading clues: `Roots of tree lead in many directions.' Chan and son escape assault and kidnapping and Lee again gets to demonstrate his ability at disguise – this time as a Chinese laundry man. Lee gets to drive the laundry truck much as we have seen in earlier Mack Sennett comedies. Like in many Chan movies, portrayal of black stable boy with monkey must have been more acceptable to audiences of the time but today should simply be cut. Similarly Chan says at end: `Good wife best household furniture' brought a remark from my wife. Perhaps that too should be cut for today's audience. Minor note is that the director appears as one of the gang. Much better than most of this series. Recommended.