Murder on a Honeymoon: A Delightfully Droll Old Mystery

Alright, so if you're into those super fast-paced, twist-every-minute mysteries, you might find Murder on a Honeymoon a bit of a snooze. But for anyone who appreciates a good, old-fashioned whodunit with a strong, quirky lead, this one's absolutely worth digging up. It's got that undeniable charm of 1930s cinema, even with its little quirks. Anyone who loves classic Hollywood or just a bit of gentle sleuthing will probably enjoy it.

The whole thing kicks off on a seaplane heading to Catalina. It’s a pretty neat setup, honestly, giving you a confined cast of characters right from the get-go. Then, boom, one of the honeymooners, a Mr. P.J. Budd, suddenly keels over. Everyone chalks it up to motion sickness, or maybe some bad clams. But not Miss Hildegarde Withers. She’s played by the incomparable Edna May Oliver, and she’s not buying it for a second. That woman has a face that just *knows* things. ✨

Oliver, as Withers, is the absolute heart of this movie. She’s this schoolteacher who just can’t help but snoop, and her observations are always spot-on, even when she’s being incredibly blunt. Her scenes with Inspector Piper (James Gleason) are the best part. They have this great, bickering chemistry that never gets old. He’s always trying to shut her down, and she’s always two steps ahead.

The plot itself, well, it unfolds pretty leisurely. You're not getting a lot of frantic chases or sudden revelations. Instead, it’s all about the dialogue and Withers's quiet deductions. There’s a scene where she’s just staring at a hat, and you can practically hear her brain ticking. The Silent Partner, it is not.

One thing that really stuck out was the general vibe of the passengers. They’re all these slightly caricatured types, from the flighty young bride to the grumpy old millionaire. It makes for a fun gallery of suspects, even if some of them get a bit lost in the shuffle. You can tell they’re having a good time playing their parts.

There's this moment where Withers is trying to get information out of someone, and she just *stares* at them until they crack. No big speeches, just pure, unadulterated judgment in her eyes. It’s fantastic. You really feel the movie trying to make sure you pay attention to her. She doesn’t need a spotlight to command the screen.

The pacing, for sure, is very much of its era. There are stretches where it feels like not much is happening, just people milling about and chatting. But then Withers will drop some little gem of an observation, and you’re hooked again. It’s like a slow burn, but in a cozy way, if that makes sense. Like reading an old book by the fire.

I found myself smiling a lot, mostly thanks to Oliver. She brings such a dry wit to the role. There's a particular bit where she's interrogating a bellhop, and her tone is just *perfectly* condescending, but also, you know, right. The poor bellhop just wants to do his job!

The mystery itself is fairly straightforward. It doesn't have a million red herrings or a super convoluted killer reveal. But that’s okay. It’s more about the journey with Withers than the shock of the ending. You’re watching her work, and that’s the real treat.

Honestly, the charm here is just Miss Withers. If you don't connect with her, the movie might feel a bit flat. But if you do, it's a solid, enjoyable slice of old Hollywood. It's not trying to be anything more than a fun mystery, and it succeeds.

Didja notice?

• The seaplane looks genuinely cramped, which probably helped with the claustrophobic feeling once the murder happens.
• Edna May Oliver's hats are a character unto themselves. So many feathers!
• Willie Best has a small role as the porter, but his reactions are always memorable, even in quick shots.
• They really like showing off the Catalina scenery, even if it's just stock footage.
• The way everyone just *accepts* Withers meddling is both charming and totally unrealistic.
• Inspector Piper’s constant exasperation is pure gold.