Murder on a Bridle Path (1936)

Wow, this is a REALLY bad movie!

the audience applauded

After playing with our expectations, this turns out to be a very different sort of film.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

In "Murder On A Bridle Path", the fourth entry in the Hildegarde Withers series, Helen Broderick replaces Edna May Oliver as the snoopy and smart schoolteacher-turned-amateur-sleuth, and although she is cuter than her predecessor, she is no match for her comedy-wise; or maybe Oliver was just so distinctive in the role that it's hard to accept anyone else in it. James Gleason does his usual solid work as the befuddled Oscar Piper, but most of the rest of the supporting cast is bland. The story begins well, but soon bogs down; to be honest, I was looking forward to the "terrific finale" that Leonard Maltin promises in his otherwise damning capsule review, but it wasn't there, IMO. Watch this one only if you must watch every film in the series. ** out of 4.

"It would be you," Inspector Piper nods the moment he turns and sees Hildegarde Withers arriving on the scene. "It's gotten so, Hildegarde, a person can't be killed within the city limits without your showing up." This is, indeed, the fourth murder case on which Miss Withers assists, critiques, leads, follows, and just generally offers suggestions to her crusty detective friend. James Gleason's Oscar Piper is once again easily chagrined but grudgingly respectful of Miss Withers' detecting skills; Helen Broderick takes on the role of school teacher and amateur sleuth Hildegarde Withers for the first and only time. This Withers is a bit less tart and somewhat more conscious of her own wittiness than the earlier Withers (as portrayed by Edna May Oliver). Broderick and Gleason quickly establish a rapport and relationship that—as in the earlier films in the series—is easily our primary reason for watching.The plot involves the death of society girl Violet Feveral, played (albeit briefly) with delicious nastiness by Sheila Terry. Suspects abound—this Violet was, in the best whodunit tradition, wildly unpopular and had handed out insults and injuries to numerous other characters in the hours and days before her death. The familiar faces in the lineup of suspects include Louise Latimer as a sister to the victim; John Carroll as a family employee; and Leslie Fenton, who is quite good as the nervous ex-husband who has just been mysteriously released from jail. Willie Best stands out in his usual thankless role as a stable boy who may have a clue or two; his deadpan delivery when answering questions (What was he doing in jail? "Shooting craps." No, what was he in jail for? "Shooting craps.") squeezes the maximum out of a role that's otherwise a lame stereotype.The mystery itself is not particularly inventive or suspenseful; however, the story moves along briskly and the actors and script are competent if not brilliant. The interaction between Gleason and Broderick is clearly presented as the center of the picture—and that relationship between a couple of pros is a lot of fun to watch. (One example: Oscar suggests that the murder was a "crime of passion," to which Hildegarde snaps, "Oscar, don't you think we'd better try to keep this case clean?") Bonus: we are instructed what can be learned about a person from examining his pipe!

Murder on a Bridle Path (1936) ** (out of 4) The fourth film in RKO's Hildegarde Withers series was the first after Edna May Oliver stepped away from the part and was replaced by Helen Broderick for the first and only time. In the film a society woman is out riding her horse when she's thrown from it and then murdered. Detective Piper (James Gleason) thinks it's a simple case of her being killed by the fall but Withers comes across the scene and notices that the woman was murdered after the fall. The two team up to track down the usual suspects. MURDER ON A BRIDLE PATH isn't as bad as its reputation but at the same time there's no question that it's a major fall from the previous three movies. There's no doubt that Broderick isn't nearly as good as Edna May Oliver but she isn't too bad here. I thought she was decent for what was being asked as she has no problem playing the smart woman and she at least makes us believe she's a lot smarter than Piper for what that's worth. As usual Gleason is very good in his part as the rather slow Detective who is always one step behind the lady. While both actors do a fine job, the same can't be said with their comic timing and chemistry. I think what really hurts the movie is the fact that the two don't share the same spark as in the previous three films. The screenplay isn't the greatest thing either because there's never any clear case of who the killer is and when he's revealed it really seems like a stretch. As is the case in most weaker written mysteries, the police and Withers would have never found out had the killer not given himself away and of course breaking to the point where he tells everything. In the end this film is pretty much on par with the majority of "B" mysteries that were released throughout the decade but at the same time it also makes you appreciate the first three films for how special they were.

... you never saw its three predecessors in which Edna May Oliver played schoolteacher Hildegarde Withers, partner in sleuthing to police detective Oscar Piper (James Gleason). There was something very special about the chemistry between these two. However, Helen Broderick is a more than adequate stand-in who manages to get a few good zingers in at the expense of Piper, which was the trademark of Withers when Oliver played the part.In this entry in the series, a pretty but difficult young woman makes enemies of everyone around her, although we're told about this more than we see it - the girl barely gets more than a scene before she is murdered while riding her horse one morning. Only the homicide investigation turns up the most likely suspect - a rich ex-husband who was a husband in the first place only because the murdered woman wanted a big payoff in the form of alimony. Piper thinks he's on to something until he learns that the man in question was in jail for non payment of alimony at the time, and that the man's only close living relative, his father, who also hates the girl for what she has done to his son, is an invalid incapable of traipsing around parks early in the morning. There are other numerous less likely suspects introduced just to keep you guessing. As usual, Hildegarde out-sleuths Piper at several key junctures, but she also makes a key miscalculation that leads up to a big joke at her expense in the last scene, after the mystery is solved. The fact that this one word - applesauce - could ever have been considered a curse word of sorts may seem strange to modern audiences. Stranger still was that the production code was so sensitive at the time that the film had to make the retort to Hildegarde appear to have two meanings. This one is an above average mystery and well acted, just don't expect the magic of the ones with both Gleason and Oliver starring.