Murder in the Private Car (1934) and One Frightened Night (1935): A Double Feature for Mary Carlisle

“I’m still here!” That was the cheerful reminder in the card I received from Mary Carlisle last Christmas. Since Carlisle turns an astounding 104 today, I thought I’d share the message and recommend 2 of my favorites from her filmography.

If you love classic movies, you’ve certainly seen Carlisle, whether floating through the lobby of Grand Hotel in a chic aviator costume, dancing with Bing Crosby in a madcap Paramount musical, or mediating between Maureen O’Hara and Lucille Ball in Dance, Girl, Dance.

After paying her dues as an “extra girl” at MGM, Carlisle rose to supporting roles in movies starring the likes of Lionel Barrymore, May Robson, Will Rogers, and Walter Huston. She continued as a featured player and sometime leading lady until she retired in 1943.

Over 85 years after her first credited part, Carlisle is last of the WAMPAS Baby Stars, one of very few folks who can remember Hollywood’s pre-Code days firsthand, and (to my knowledge) the only living person who was photographed in two-color Technicolor.

Handed many generic ingenue roles, Carlisle infused them with a verve and sparkle that was uniquely hers—the same luminous joie-de-vivre that has sustained her for over a century. Screenland described her as “our personal pick for sure-fire pep in any screen scene.” And in 1934, Picture Play magazine sounded downright surprised at the dedication and charisma that went with her sweet appearance: “Mary Carlisle might easily be just another blonde cutie and be content with that but it happens the girl can act! Steadily improving in each part she plays, never neglecting her sense of humor, she’s one of the really talented newcomers.”

Our talented newcomer did her share of demurely gazing into a screen-beloved’s eyes, but the Mary Carlisle moments I cherish most are those that show her feistiness. After all, you didn’t make a place for yourself in 1930s Hollywood without possessing some serious moxie. Watch Carlisle give crotchety old millionaire Charley Grapewin a real tongue-lashing in One Frightened Night when he accuses her of being a fortune-hunting impostor.


In this delightful whodunit, Carlisle is the second girl claiming to be the long-lost heiress to a vast fortune. Despite a fantastic cast, the movie drags ever so slightly until Carlisle arrives at the 20-minute mark and buoys it up with with that “sure-fire pep” of hers.

Carlisle makes a dramatic entrance, seen from the outside of the gloomy manor, running out of the howling rain (on the prerequisite Dark and Stormy Night). She opens the door, shouts a cautious “HELLO!” into an unresponsive house, settles in front of the nearest fire, and engages in some mocking patter with Regis Toomey, the first person she encounters.

She swiftly impresses the audience as the opposite of inert, simpering granddaughter claimant #1, Evelyn Knapp. There’s something enchantingly Mae West-ish about the way 21-year-old Carlisle then proceeds to assert herself with the family lawyer. A haughty chin tilt and defiant tone cuts her challengers down to size. This is the kind of gal who really does value her dignity above 5 million dollars. Though she be but little, she is fierce!

Playing a sassy vaudevillian, Carlisle gives us an old dark house heroine who’s more than usually capable of taking care of herself. When ne’er-do-well Regis Toomey tries to put the moves on her, she likes him, but she’s not ready to trust him. She rolls her eyes and expertly brushes his hand right off her shoulder.

Toomey goes to leave her in a creepy-as-hell room filled with mummy cases, shrunken heads, and skulls. “You’re not afraid, are you?” He asks. Though quaking with fear, she steels herself and replies, “Well, I guess I’ve played tougher houses than this.” Unlike many a damsel, she reflexively grabs a weapon when she’s alarmed. She may be spooked, but she continues to intrepidly explore the lugubrious family manse.

An independent production, One Frightened Night is cozy good fun, an underrated gem among old dark house movies. Even the opening—in which the camera tracks towards rain-spattered windows as the blinds are pulled down to reveal credits—displays exceptional panache, despite the shoestring-budget.

This flick delivers everything we expect. Secret passages! Exotic murder weapon! A gallery of eccentric suspects! Goofy comic relief! Most importantly, the cast clearly is having a ball. It’s like the audience has been invited to the swellest murder mystery dinner party ever. Because it’s in the public domain, you can watch One Frightened Night right now.

If One Frightened Night is cinematic comfort food, Murder in the Private Car is like a chocolate-covered hot pepper.

Essentially an old dark house movie on wheels—and steroids—this action-packed oddball thriller also casts Carlisle as an imperiled lady set to inherit a fortune. Murder was her penultimate pre-Code and one of 9 movies that she made in 1934. Although Charlie Ruggles and Una Merkel run amok, Carlisle serves as the linchpin of the plot. I can’t think of many 1930s ingenues who could hold this vortex of zaniness together and make us care about her character as much as Carlisle does.

There’s a special place in my heart for zippy B-movies that commit to their wackiness. You know, the sort of earnestly outlandish programmers and cult films that play their material—wild contrivances, plot holes, and all—utterly straight. You’ve gotta admire the sheer accelerating weirdness of a 63-minute barn-burner like Murder in the Private Car. The thick layer of MGM gloss and glamour is icing on this time bomb cake.

If the phrases “kidnapped heiress,” “killer gorilla on the loose,” and “runaway train loaded with explosives” tickle your fancy, then you are in for treat with this one, my friends.

The bond between Carlisle’s and Merkel’s characters imbues this film with a sense of sisterhood and solidarity. As harried telephone operators, they work side-by-side in teasing harmony. When Carlisle discovers that she’s the long-lost daughter of a rich man, even such a dizzying class change doesn’t break their friendship. Merkel is genuinely happy for her friend. She smiles sadly, not because she’s jealous or resentful; she expects that she’ll have to say goodbye forever. But Carlisle isn’t going to abandon her. She gleefully yanks out the telephone lines and pulls Merkel out of the office, towards a better life for both of them.

And it’s a good thing she does drag her friend along with her. I mean, when you’re in your lingerie and you need to fend off an escaped gorilla trying to rampage into your train compartment, you need a gal pal, am I right? Battling a man in a bad monkey suit, Carlisle and Merkel define professionalism.

They really do look terrified, bless their hearts. This dynamic duo valiantly sells that scene in all its glorious, colossal silliness. Because they take it deadly serious. Oh, did I mention that the gorilla has nothing to do with the main murder mayhem plot? Really, this movie is nuts.

Una Merkel garners the lion’s share of funny lines—and who could deliver them better? Commenting on Carlisle’s hunky bodyguard, Merkel can’t help but drool, “I wish there were a man like that guarding my body.” Carlisle get some snappy dialogue too. At the conclusion of a nonsensical speech, Charlie Ruggles asks, “Simple?” Carlisle disapprovingly quips, “You certainly are.”

Murder in the Private Car culminates in a slam-bang set piece that makes you feel like you’re riding a roller-coaster with the characters. The combination of skillful rear projection and shenanigans with real trains demonstrates that MGM didn’t do things by halves. Given how exciting the finale is on my laptop screen, I suspect that moviegoers left the theaters feeling very satiated with thrills.

Fair warning: Not everybody enjoys this film as much as I do. (My pal Danny of Pre-Code.com gave it a rare “dislike”!) Apart from a few cringe-inducing gags, Murder in the Private Car strikes me as uproariously entertaining, but then again I happen to think that wildly implausible plots are endearing.

Many of Mary Carlisle’s films are difficult to find, but this duo of comedy-chillers is within easy reach. I hope you’ll seek them out—although, in all of their strangeness and wonder, they’re certainly not as amazing as Carlisle’s own life.

If you want to learn more about Mary Carlisle, be sure to like her Facebook page.

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One thought on “Murder in the Private Car (1934) and One Frightened Night (1935): A Double Feature for Mary Carlisle

  1. A really good article on Mary Carlisle(1914- ), of which I really enjoyed reading. Having never watched these movies before, I now will do that. Keep up the good writing and thank you for doing your part in keeping classic movies alive and well.

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