I like the storyline of this show,it attract me so much

People are voting emotionally.

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

This is a dark and sometimes deeply uncomfortable drama

"Murder in the Private Car" is from 1934, right at the beginning of the production code.A pretty switchboard operator, Ruth (Mary Carlisle) is told by detectives that she is the long-lost daughter of a wealthy man. Her coworker (Una Merkel) accompanies her in a private train car ordered for her to take her to her father. But somebody -- a disembodied voice, in fact - wants her dead -- and tells her she has only hours to live.A man on the train, Godfrey Scott (Charles Ruggles) is on the train. He is a "deflector," one who stops crimes before they start. Ruth's long- time boyfriend is also on the train. Soon people start being murdered, and it's obvious Ruth is in great danger.This is an odd movie in that the story - for me, anyway, wasn't very clear. There is a circus train wreck thrown in, giving Ruggles the opportunity to interact with several animals.The highlight of the film is a train chase, and the process shots were very well done - normally you can tell the background is a movie screen, but here it wasn't always apparent, and the chase was very exciting.I was confused because it looks in the beginning of the film as if the detectives faked the evidence in order to say that Ruth was the long- lost daughter, but I don't think it was followed up. I guess whether she was or not, she thought she was and the father believed it. The other thing that threw me was the disembodied voice which I thought I recognized - I won't say who I thought it was, but I spent some time thinking the murderer was someone who wasn't. In fact I'm not sure if the murderer was revealed. I was probably distracted. It reminded me of an old episode of Inspector Morse that was so confusing, I called my friend and asked whodunit. He returned my call and said, "I not only don't know whodunit, I don't know who was killed."Georgia (Merkel) and Godfrey have a cute relationship that grows during the film. Definitely worth seeing - Walter Brennan is one of the men at the train switch, obviously a very early role. Sterling Holloway, so familiar to Baby Boomers from TV and the voice of Winnie the Pooh, is also in the film. MGM supposedly remade this film about ten years later - but to be honest, the description of "Grand Central Murder" doesn't sound the same, except for the train sequence. This movie is also reminiscent of a film with Lana Turner minus the train - so who knows.I thought this B movie ended before certain things were cleared up. According to IMDb, Mary Carlisle is still alive at 101. Wow.

This is the sort of B thriller that made movie-going fun back in the thirties. Mary Carlisle is a hard-working telephone operator at a stock brokerage who suddenly discovers that she's the long-lost daughter of a railroad tycoon. With best pal Una Merkel in tow, she's tricked into boarding a private railway car en route to a reunion with her father. But neither the car nor her fellow passengers are what they appear to be.Some of it is sorta' silly. There's a circus train wreck thrown in for padding. And Charlie Ruggles' as a "deflective" detective has a few too many goofy bromides. But the climactic chase sequence, as a runaway car roars down miles of twisting mountain track, is superbly directed, shot and edited. And that was back in the days before CGI when you had to film the real thing.While "Murder in the Private Car" isn't in the same league as "The Narrow Margin" (the gold standard among railroad mysteries,) it's well worth a look. Especially for train buffs. And in just a bit over an hour, it moves along like...well...like a speeding train.

Thankfully brief mystery about a telephone operator who is discovered to be the kidnapped daughter of a railroad tycoon. The discovery brings about an attempt on her life which is foiled by Charlie Ruggles as a "crime deflector". Things take a turn for the dangerous when everyone ends up in the title location and another attempt is made on the girls life. Your enjoyment of this film will depend upon your tolerance for Rugggles and his nonsense.I normally like Ruggles but there was something about this role that rubbed me the wrong way. Actually I think it didn't help that the mystery wasn't very good so there was nothing beyond the characters to keep you watching. yes the finale on the train was exciting but it didn't make up for everything that went before. Not worth searching out but if you stumble upon it give it a try.

Seldom will the words "what were they thinking?!" come to mind while enjoying a film as often as while watching this pseudo-mystery from the early days of sound at MGM - though not as early as the haphazard writing would suggest.Enjoy it you will, however, as the odds and ends the entertainment are assembled from are largely quality remainders, borrowed from all kinds of other films than the mystery the title leads one to expect. Who knows what the original mystery play ("The Rear Car") the film is based on was really like? It lacked sufficient merit to make it to Broadway (neither did "Everybody Comes To Rick's," but that didn't seem to hurt CASABLANCA much), but the stagy "thriller" aspects of the center part of the film suggest that the tossed in ingredients didn't hurt it any.Chief among the "tossed in" ingredients is Charlie Ruggles' Godfrey Scott, a supposed "detective" occupied far more with the kind of bumbling burlesque comedy Ruggles had been perfecting since his movie debut back in 1914 (and would continue to mine right up until his death in 1970). By the 1930's Ruggles was a well recognized Hollywood commodity in such hits as Brandon Thomas' CHARLEY'S AUNT, THE SMILING LIEUTENANT, LOVE ME TONIGHT and ALICE IN WONDERLAND. MURDER IN THE PRIVATE CAR must have seemed a decidedly second tier assignment to the comedian, but he gave it his all . . . though the biggest laugh in the script may come in the credits - "Edgar Allan Woolf," one of the co-writers was clearly named after Edgar Allan POE, the founder of the modern mystery format with his "C. Auguste Dupin stories in the 1840's! So much for legitimate mystery credentials in this film.The silly plot (a lost heiress found and at risk) had already been the subject of too many musicals and farces to be taken entirely seriously, and the film makers don't spend to much time seriously laying out the clues and red herrings even though the golden age of the murder mystery was near its peak. Instead, they pull out the stops with cinema-friendly special effects like runaway trains and (never explained) secret panels.It starts and remains a supremely silly hodge podge, but fun nonetheless for all but the serious mystery fan the title seems to want to attract. Watch for Ruggles and Una Merkle, and don't worry so much about the title murder(s) and a good time is to be had.