Murder at the Vanities: A bizarre, glittery mess

Is it worth your time?

Honestly? Only if you have a high tolerance for pre-code musical numbers that go on for ten years. If you’re looking for a tight, gritty detective story, turn around now. You will hate this. But if you want to see a weird, shiny artifact from 1934 where a murder investigation feels like a minor inconvenience to the costume department, then settle in.

Cinematic perspective: Exploring the visual vocabulary of Murder at the Vanities (1934) through its definitive frames.

The whole thing feels like two different movies taped together. One movie is a murder mystery. The other is a high-budget variety show that refuses to stop. At one point, there’s this musical number about marijuana—yes, really—that is so bizarrely staged I had to pause it to make sure I wasn't hallucinating. It's wild.

Cinematic perspective: Exploring the visual vocabulary of Murder at the Vanities (1934) through its definitive frames.

Notes from the floor

• The detective is remarkably chill about a body on stage. Maybe he’s seen too many shows.
• Duke Ellington is in this, which is the only reason to stay awake during some of the slower dialogue scenes.
• The set design is massive. It makes me wonder if they spent the entire budget on feathers and stairs.
• There's a fleeting moment where you can spot a young Lucille Ball. She’s barely there, but she’s got more personality in her thumb than half the leads.

It’s not as polished as The Dangerous Flirt, but it has this chaotic energy that's hard to look away from. The plot keeps tripping over its own feet. Every time the detective gets close to an answer, someone starts singing a song about exotic locations or drug-induced fever dreams. It’s a total mess, but a fun one.

Cinematic perspective: Exploring the visual vocabulary of Murder at the Vanities (1934) through its definitive frames.

The pacing is genuinely terrible. You’ll be mid-interrogation and suddenly you're watching a chorus line dance for five minutes. Why? I don't know. The movie doesn't know either. It just happens.

Cinematic perspective: Exploring the visual vocabulary of Murder at the Vanities (1934) through its definitive frames.

I found myself zoning out during the romantic subplots. They are standard stuff, very forgettable. But the spectacle? It’s relentless. You can feel the studio trying to cram every dollar they had onto the screen. It’s almost desperate, honestly.

Cinematic perspective: Exploring the visual vocabulary of Murder at the Vanities (1934) through its definitive frames.

If you enjoy comparing eras, this feels worlds apart from the quiet simplicity of The Curio Shop. It's loud, it's crowded, and it's obsessed with its own vanity. A weird, strange night at the movies. 🎭