I like the storyline of this show,it attract me so much

Fresh and Exciting

Awesome Movie

The acting is good, and the firecracker script has some excellent ideas.

All of us are a bit too hard on sequels. All of us. Critics, fans, general moviegoers, we all tend to judge the sequel by the standard of the original movie. Thus the thumbs down to Son of Kong, Belle Starr's Daughter and The Return of a Man Called Horse. Yes, it's certainly true that studios often skimp on production values when they have a ready market for a sequel. It's equally true that the script is often hastily written and the film directed by a man whose emphasis is on celerity rather than meticulous craftsmanship. But many of these scruples do not apply to "After the Thin Man". Here we have the same leads, the same director, same writers, same producer, even the same film editor. Mr Powell is the same sharp, inebriated, self-indulgent Charles, and Miss Loy continues to be gorgeously gowned by Dolly Tree. Only the supporting cast has changed. Instead of Nat Pendleton's reasonably intelligent, co- operative police lieutenant, we now have Sam Levene's more aggressive yet equally co-operative police lieutenant. Instead of Maureen O'Sullivan's pleadingly lovely damsel-in-distress, substitute Elissa Landi's slightly more hysterical yet equally attractive damsel-in-distress. Instead of a missing father, make it a missing husband. Instead of a more mature low-life friend for dad, introduce a more hoydenish bit of low-life for hubby. Instead of a bookish brother for the heroine, conjure up a more sensitive, more helpful ex-lover. Don't forget the matriarch and the blackmailer, they're virtually the same. Mix them all together and round them all up for a final confrontation and there you have "After the Thin Man". Never was there a truer title! Yes, same plot, same characters — but less action and more songs — why are we complaining that the sequel isn't as bright, as witty, as agreeable as the original? I like it as much anyway. Maybe it's a bit too talky — and loudmouthed Sam Levene does get on our nerves a bit — but it does have at least three incomparable advantages: — James Stewart, Penny Singleton and Jessie Ralph.To catch Jimmy Stewart in an unsympathetic role — I believe this is the only time he ever played a heel in his entire screen career — is reason enough to see "After the Thin Man". But he does the part really well. In fact, it's a performance that actually improves the more you watch it, full of subtleties that you miss on a first viewing: little bits of business, fleeting facial expressions, body movements and gestures that give more than a clue to the character's real persona behind the oh-so-friendly and politely diffident mask.In another turn-up for the books, Penny Singleton here essays a characterization as far removed from Blondie as Peter Ibbetson from Count Dracula. She's not only totally convincing, bogus accent and all, she doesn't even look like Mrs. Bumstead. And she has a couple of songs as well. What a wonderful bonus! And for matriarchal roles, you simply can't go past Jessie Ralph. She's the queen. Minna Gombell, by comparison, can rise no higher than upstairs maid. To these three reasons for catching "After the Thin Man", add Bill Powell, Myrna Loy and a marvelous support cast. If Van Dyke's direction isn't quite as stylish, and if you tend to agree with some reviewers that too much time is wasted on the dogs, surely this rich assembly of favorite players more than compensates?

The other reviews accurately describe the wonderful character development (and there are plenty to develop not only in Nick and Nora but a whole idiosyncratic cast) and complex plot that has seldom been equaled in the murder/detective biz.While every scene is a filmmaker's delight (dialogue, body and facial language, conflict), watch for two scenes that are special.Warning viewers of scenes to watch for is not a spoiler -- it enhances the anticipation. They can be summarized as follows.In one series of scenes that goes on for six minutes without dialogue, only wariness and tension, Powell/Charles and a major suspect hunt each other through an apartment house, gathering clues with guns drawn.In the other strong scene that lasts only a few seconds, and has none of the clever repartee, Nora is confronted by the killer. He warns her, and all the viewer can see are her eyes, but the viewer in that quick contest of wills is shown her courage as strong as anything Nick displays.Other reviews call this film "excellent" and "superb". Indeed.

AFTER THE THIN MAN (Metro-Goldwyn-Mayer, 1936), directed by W.S. Van Dyke, brings together William Powell and Myrna Loy for the sixth time in a sequel from one of their earlier successes, THE THIN MAN (1934). Aside from reprising their roles of Nick and Nora, the story continues where its predecessor left off, on a train bound from New York to San Francisco. Though the script claims to have the couple traveling on board for three days, this continuation took nearly two years for them to arrive at their destination. With Nick's constant boozing, chances are he never noticed it.San Francisco bound on the Sunset Limited, Nick and Nora Charles (Powell and Loy) along with their wire haired terrier, Asta, coming off the train finding themselves surrounded by reporters and assortment of oddball character friends of Nick's congratulating him on solving the "Thin Man" murder case. Driven home by their chauffeur, Harold (John Kelly), a sophisticated couple passing by greet Nora. When Nick asks who they are, she quips, "You wouldn't know them, darling. They're Respectable!" Arriving home for rest and relaxation before setting out to ring in the New Year, Asta, their pooch, heads over to the dog house to greet Mrs. Asta and their puppies. Much to his surprise, he finds his wife might have been cheating on him while away as he notices another dog at close range. Evening plans change as Nora receives a frantic phone call from her cousin, Salma (Elissa Landi) to come see her at her Nob Hill mansion. Placed under psychiatric care of Doctor Adolph Kramer (George Zucco) by her domineering Aunt Katherine Forrest (Jessie Ralph), Salma's troubles are revealed to Nora as being worried over her husband's three day disappearance and asking Nick to find him. Nick and Nora eventually do find her husband, Robert (Alan Marshal) in a Chinatown nightclub managed by Dancer (Joseph Calleia) and partner, Lum Kee (William Law), drunk and flirting with hostess and singer, Polly Byrnes (Dorothy McNulty). Along the way, Nick and Nora discover that David Graham (James Stewart), Salma's former suitor, had given Robert $25,000 to get out of Salma's life. At the stroke of midnight, Robert is walking down the dark streets. A gunshot is fired. Robert is dead. Once again, Nick comes out of retirement to investigate as well as clear Salma, who's suspected of the killing. Along with Lieutenant Abrams (Sam Levene) of the homicide bureau, Nick encounters more baffling mystery and enough surprises to keep anyone guessing. "You bet yah." Coming close to a two hours in length, AFTER THE THIN MAN is seldom dull. Scripted by the same team (Frances Goodrich and Albert Hackett) that produced THE THIN MAN, taken from the same characters created by Dashell Hammett, this is one of the rare cases where a sequel surpasses its original. Through its title, this is the film responsible for labeling Nick Charles as "The Thin Man." Separately or individually, Powell and Loy are in top form playing society sleuths with great chemistry and sense of humor. Powell's finest moments are those involving him coping with Nora's relatives and Aunt Julia's constant outbursts addressing him as "Nick-o-las." Scenes involving Nick and the over-aged butler (Tom Ricketts), and Asta's reunion with Mrs. Asta and the pups, were good enough to become inserted comedy highlights in THAT'S ENTERTAINMENT, PART 2 (1976). Myrna Loy's Nora retains her sophisticated manner, even after getting arrested and spending time in jail for interfering in her husband's investigation. James Stewart, early in his career, also gathers enough attention in his atypical role. The dark-haired Dorothy McNulty, later Penny Singleton of the "Blondie" movie series (1938-1950), as the tough talking mistress, takes the spotlight singing songs at the New Year's Eve celebration, "Blow that Horn" (by Walter Donaldson, Bob Wright and Chet Forrest); and "Smoke Dreams" (by Nacio Herb Brown and Arthur Freed). Familiar character actors, Paul Fix, Clarence Kolb and Teddy Hart, also participate in smaller roles.As with THE THIN MAN, the gathering of suspects is its climatic highlight, even better this time around. You bet yah. A grand mix of screwball comedy and murder mystery, AFTER THE THIN MAN, distributed to home video in the 1980s and later on DVD. It's shown regularly on Turner Classic Movies, appropriately on or around New Year's Eve where the story is mostly set. What comes AFTER THE THIN MAN? ANOTHER THIN MAN (1939) with Nick and Nora back in New York. Happy New Year. (***1/2)

Elissa Landi was one of Hollywood's most interesting failures. She was an English actress who came to Hollywood in a flurry of publicity. She was just so superior in every way, so well read and an aristocrat by birth - no wonder the average movie goer didn't warm to her. But she was very beautiful and had already proved herself capable in some English films. By the time "After the Thin Man" came along (her friend Myrna Loy had recommended her for the role) her career was almost over, as Hollywood had already discovered Madeline Carroll. I thought she was quite emotive in her role as Selma, Nora's cousin, who feels she is being driven insane.After solving the "Thin Man" case, Nick Charles is a celebrity, but Nora is determined that from now on they will lead a quiet life. During a rowdy New Year's Eve, Nora's cousin, Selma calls in a hysterical state. Her husband, Robert (Alan Marshall) is missing and she fears he is with another woman. An extremely youthful James Stewart plays David, who has always carried a torch for Selma. Vibrant Dorothy McNulty gives a spirited version of "Blow That Horn" - she even does a tap dance!!! Later she sings the beautiful "Smoke Dreams". She played the role of Flo in the 1930 version of "Good News" and specialised in an acrobatic style of dancing that was very exciting to watch. Soon after this film she changed her name to Penny Singleton, became a blonde and originated the role of "Blondie" for which she is remembered. She plays Polly, the girl who is having an affair with Robert. They are planning to run away together on the $25,000 he hopes to get from David who offered the money to keep him away from Selma. When Robert is murdered there are many suspects, foremost among them Selma, who has followed him into the fog with a gun!!!This is by far the best of the series (in my opinion). There are too many funny bits of business between Nick and Nora to mention. Apart from James Stewart and Dorothy McNulty, there is George Zucco giving his sinister best to the tiny part of Doctor Kammer and Sam Levene is wonderful as the harassed Inspector Abrams. As well Jessie Ralph is fantastic as dastardly Aunt Katherine, if you can't remember her, she was the wonderfully kind and comforting Peggotty in "David Copperfield". Also whoever played that wonderful, doddering butler - "Walk this way sir" - "I'll try"!!!!Highly Recommended.