I was expecting a quick murder mystery set on a train. Instead, I got to see Charles Ruggles as a romantic lead. For those who don't know the man, he was Major Applegate in the farce Bringing up Baby.But, in this movie, he was a little less formal, but with the same halting delivery. He spends the better part of this movie successfully seducing one of the women. And, why not? Mild-mannered people have to reproduce as well.Plot-wise, this movie is kind of confusing. I got the impression that the movie just kind of stopped because they ran out of film or one of the actors had to go on vacation or something. It definitely wasn't bad.And, it definitely wasn't great, either.

In the 1930s-40s, Hollywood made approximately 3045203540 B-detective films (give or take 1 or 2). And, as I have apparently seen most of them, they all start to blend together after a while. Because of this I was actually pretty relieved to see that this one is different--not necessarily that great but at least different.The film itself is about two ladies who are on a train to go see one of the women's father--who she has never met. Apparently she's a long-lost heiress and doesn't know it. Unfortunately, she is also unknowingly being used as bait to get to the millionaire--as some crazy person wants to kill him. And, being crazy AND histrionic, he's come up with a very complicated and strange way to exact revenge.The first really odd thing is the detective. Charlie Ruggles is about as unlike the typical detective as you find--small, a bit git goofy, and possibly a bit crazy. So, when he DOES act, it comes as a surprise--especially when he becomes a bit of an action hero! Second, although it's pretty obvious they were using a lot of camera tricks, the end of the film is unusually action-packed for a mystery. Third, the plot is a lot like what you might find in an over the top movie serial--especially with such gimmicks as the sliding steel plates and voice of doom when the killer confronts the millionaire--it's goofy but highly entertaining In fact, it's easy to admit that the film is pretty silly but somehow different enough to keep your interest.By the way, talk about dehumanizing! Fred Toones (a black actor) is simply listed here as 'Snowflake' in the credits--as he was often credited in films. This appellation is a sad commentary on the times in which the film was made.

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.

The years haven't been kind to this sort of material, a fragile murder mystery dependent on flat one-liners from leading man CHARLES RUGGLES and a script that ends with a Keystone Cops sort of train chase that only manages to liven up the proceedings for the final fifteen minutes.The runaway car sequence is full of process shots that only add to the tangled mess of a plot involving a bit of murder and mayhem. UNA MERKEL gives her standard flighty interpretation of a dull role, as does MARY CARLISLE. The broadest comedy relief comes from the train porter, played by a black man billed as "Snowflake." Today's viewers would find his interpretation of a comically frightened coward as offensive as can be.Getting to that train chase ending is almost unbearable. Charles Ruggles has a thankless role and is unable to deliver a single believable line. His detective character is not only annoying but obnoxious--not the actor's fault but the poor script gives him no opportunity to be anything but foolish and boorish in behavior.Only those who love to wallow in '30s-style comedies, whether good, bad or indifferent, will be able to tolerate this one.My advice is to let it pass. Mercifully, it's a short feature film.