We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
THE THIN MAN (1934)
273
Dashiell Hammett's detective novel, The Thin Man, was a leading best seller and, naturally, had most of the studios bidding for it. M-G-M finally got it and entrusted the film version to Myrna Loy and William Powell, with Hunt Stromberg producing and W. S. Van Dyke directing. Its instantaneous success, however, exceeded the wildest speculations of its sponsors. The idea of treating a murder mystery in terms of high comedy was fresh and appealed to a public that was weary of conventional whodunits. Moreoxer, to a movie audience that had been brought up to see marriage, in the films, an an ordeal, the sight of two ultra-smart, sophisticated people very much married and very much in love was reassuring and oddly moving. In this scene, Powell is comforting
Maureen O'SuIlivan, with the cynical Miss Loy losing no detail of the tender episode.
BELOW
The Thin Man, besides producing such sequels as After the Thin Man and Another Tliin Man, boosted the reputations of its two stars. Myrna Loy, after a career that had consisted largely of a dreary succession of Oriental seductresses, revealed herself as an irresistibly adroit comedienne. William Powell, who had been known chiefly as a heavy, emerged as the perfect type of polished, urbane man of the world. In this group are Miss Loy, Miss O'SuIlivan, Henry Wadsworth, and Powell, to say nothing of Asta, the scene-stealing wire-haired, whose reputation was also established bv The Thin Man.