This is the last of the Thin Man movies but the first in the series I didn't like. I've found these movies work best when Nick and Nora are together as much as possible. The appeal for me is their banter and chemistry with each other and their paired interactions with others. But in Song they're rarely together in the first half of the movie and in the second half they're just sort of beside each other. Myrna Loy's delivery is still perfect but the writers forgot to give her anything funny or clever to say. She's in the background for most of the movie. And William Powell's delivery is a little tired. He's a little slower, less energetic than in the other entries. There's also a lot of musical interludes and a strange lack of alcohol consumption in this film. The lack of drinking in the previous movie was a funny on-going gag but here it's just noticeably absent. In fact this really could just be any movie starring Loy and Powell instead of a Thin Man flick. But at least Asta's still cute.

This was another excuse to showcase the wonderful chemistry between Loy and Powell. Thankfully, I cannot say that there is no attention to detail, story, plot, or execution, because there is. It does somehow seem to be secondary, however, to the marvelous on screen relationship the principles enjoy.I like this in spite of the comparatively weak production style, plot, etc. and more for the quirky, sweet element and less for the tremendously compelling story or plot. It has a close feeling to Another Thin Man in that it was enjoyable, not as good as Shadow, or the first two installments, but enjoyable, nonetheless.All in all? This is great for an afternoon, or rainy day movie.It rates a 7.3/10 from...the Fiend :.

1947 was the last gasp for several long-running MGM series': Maisie bit the dust with Undercover Maisie, grumpy Dr. Gillespie rode out into the sunset on his wheelchair in Dark Delusion and, most notably, Nick & Nora untangled their 6th and last case in Song of the Thin Man. Unfortunately for fans (myself included), this was a pretty limp exit plot-wise. Powell, rather jowly and now well past the age of 50 was still playing Nick like he was capable of jumping shank-wielding thugs and comically weaning himself off the lure of the bottle. Loy and Asta don't look to have aged one whit. The plot involved the gambling boat murder of a womanizing band leader, Tommy Drake, who may--or may not--- have been in debt to the tune of 12G's and had a long list of enemies, including a drunken clarinet player, the gambling boat owner (and his wife), a hood, and any number of the boys in his band. Keenan Wynne's on hand as a hep-talking member of the reed section, whose got an enormous amount of screen time (L.B. Mayer had kept his promise to give him better roles in exchange for divorcing his wife so Van Johnson could have her). Eddie Buzzell directed this without noir or the late W.S. Van Dyke's cleverness. Nick & Nora still co-habitate in twin beds, live in a now zillion dollar Manhattan flat (noticably lacking a new-fangled TV per MGM edict) and there's an occasional glimpse of a fabulous car amongst some wildly cheap looking backdrops--- the irritating Jayne Meadows tools around town suspiciously in a V-12 Lincoln Continental convertible while Nick & Nora pile in and out of postwar suicide door DeSoto cabs. Without giving up a spoiler, the lesson here is never try to keep a dame in expensive jewelry.

Totally ordinary now, the Thin Man bowed out as slightly off-key as one of the clarinet solos played by the mysterious key character Buddy. Can madness be turned on and off like a tap? However still some fine moments here even for 1947, but especially for 2006.Murder is committed on a heaving nightclub-boat the Charles are disporting themselves on, and Nick launches himself into the case with gusto for the once and only. The dissembling suspects are assembled for the viewers, but with this lot for the first time I didn't care whether they were all guilty or innocent. None of them were given enough time to become interesting, whether as baddies or semi-baddies. If Nick had pointed out Junior as the murderer I would have been surprised but accepted his deductions as infallible as usual. Keenan Wynn and other all-white musicians laid on the hep talk with a trowel, to Nick and Nora's continual generation gap bewilderment.Overall a tremendous Golden Age Hollywood comedy drama series, starting with a bang and ending with a slight fizzle. So 6/6 it was but I give this one a good 7/10.