That was an excellent one.

Sick Product of a Sick System

Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Despite its come-on title, this movie does not add up to one thrilling picture. The main problem lies in the very amateurish script by Joseph Hoffman who presumably dusted off something from his early attempts at screen writing before he left Fox in 1941 and ended up at Monogram in 1942. Anyway, whenever it was written is not the point. The sad fact is that it's packed with some of the most feeble wisecracks it has ever been my misfortune to come across. Director William Beaudine is no help either – except for one scene in a movie theater which is not even a quarter as bad as the rest of this movie-to-avoid! Producer A.W. Hackel's movies were so lacking in entertainment values that from 1934 through 1936, he often declined to take a credit. Re-issue title: Horace Takes Over.

I expect wartime audiences howled at this slice of WWII escapism, especially the wedding night innuendo. Happily, the 70-minutes is still fairly amusing madcap. Innocent newly-weds Horace (well-chosen name) and bride Millie can't seem to get a moment alone on their wedding night. Trouble is gangsters are after stolen loot that seems to be hidden in the couple's hotel room. So their room is like a revolving door between cops, gangsters and corpses. Good thing they're such sweet kids so we know nothing bad will really happen. Actors Beale and McKay may border at times on cutesy, but still manage to give the kids a winning turn.The premise may not be exactly new, yet it's a lively cast and an engaged director (Beaudine!). There's that gimmick always worth a few chuckles concerning bodies that disappear before the cops arrive. So, for the kids, it's a really frustrating night in more ways than one. Note presence of notorious Hollywood bad boy Tom Neal as Frankie, the head gangster. How ironic that Horace out-punches Frankie since Neal was a formidable college boxer, as actor Franchot Tone unfortunately found out. Sure, it's another cheap Monogram production, but the script, cast, and direction make the hijinks work better than the usual. And catch the movie's very last line—a good indication of the temperature of the time.

War draftee John Beal and his bride Wanda McKay check into a New York hotel for one quick night of marital bliss before he heads off to fight the Japanese but end up with so much more thanks to an alleged corpse Beal finds in their bed. This results in an adventure as they deal with kidnappers, idiotic house detectives (Warren Hymer once again) and a night in the Big Apple they'll never forget. Comedy, intrigue, action and brilliant character bits make this tons of fun, as put together by the quick filming William Beaudine, "King of the One Take".Among the amusing sequences are the couple's winning the big prize in a movie theater raffle while they are trying to remain hidden from the villains (very obviously present), Beal's come-on by their moll Barbara Pepper (the original "Mrs. Ziffel") and McKay's sudden heroic attack on the villains. You can see many future similar plots in this, particularly in the two higher budgeted plots of the "Fuller Brush" movies. Future film noir heavy Tom Neal ("Detour") is prominently featured as the main villain.

In this instance, it be. The trade papers seldom had anything good to say about product from the minors for a couple of reasons; there was seldom anything good to say about it, and since the minors spent little in the way of advertising money in the trades, the reviewers got a free shot at expressing how they really felt without being called to task by the editor or publisher because Louis B. Mayer didn't like their comments. "One Thrilling Night" actually had a premier showing at a Hollywood theatre as opposed to the trade reviewers dropping by the studio screening room to see it or, as was often the case, being reviewed at a theatre months after it was released. Monogram was not high on the "trades" priority list. It was screened on June 28, 1942 and, ordinarily, it would have been released a few days before or afterwards. The reviews were so out of the norm, that the film was held back long enough for all an all-new pressbook and posters and ad mats to be made incorporating the reviews and the release was held up until August 8, 1942. "Boxoffice" said if it had come from a major company, it would be loudly and quickly acclaimed as a "sleeper"; "Film Daily" called it clever, fast and fautlessly played---as good as anything Monogram ever turned out; David Hanna, in the L.A. Daily News, said it was one of the most creditable films ever to come from Monogram and augered well for the future of this alert and enterprising studio; in a rather breezy fashion, "Motion Picture Daily's" reviewer tabbed it a sleeper and advised to give it some racing room at the head of the stretch as it had speed, a style of its own and finished strong; and "Showmen's Trade Review" called the direction of William Beaudine like a cut gem with no situation that interferes with another. Yadda, Yadda, Yadda also from "Variety" and "Movie-Radio Guide. Hold on one cotton-picking moment, what is going on here? All this about a film directed by William (One-Shot) Beaudine; produced by A. W. Hackel of the Supreme (company name, not a description) westerns with Bob Steele and Johnny Mack Brown circa 1934-1936 and father of some exploitation pics only a notch above those from Kroger Babb and the widow Houdini; a film with the dour and dull John Beal, usually found playing a preacher in the limberlost, doing a comedy turn and B-western and serial regulars such as Ernie Adams, Lynton Brent and Pierce Lyden playing funny gansters? Well, dang if the reviewers weren't about half right, albeit slightly overboard probably from being somewhat giddy and surprised at finding this behind the Monogram logo and over-reacted. All in all, well worth finding and watching and, maybe, being surprised. And Wanda McKay, as the frustrated bride, in a 1942 silk slip with one strap hanging didn't hurt it none nuther.