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Cult Review
Senior Film Conservator
Alright, so *Murder on the Roof* is one of those old films you probably stumble across late at night, or maybe a friend who really digs obscure stuff tells you about. Is it worth watching today? Yeah, actually, for the right crowd. If you enjoy the vibe of early 1930s cinema, especially the zippy pre-Code stuff with its slightly wild energy, you’ll probably get a kick out of this. If you’re looking for modern pacing or pristine production values, you’ll likely find it a bit slow and perhaps even a little silly. 🤷♀️
The setup is pretty straightforward: Anthony Sommers (William V. Mong), a lawyer who's seen better days, gets accused of murder. It's a classic frame-up, of course. His daughter, Molly (Dorothy Revier), a nightclub singer, teams up with two reporters, Ted Palmer (David Newell) and a guy wonderfully named Drinkwater (Raymond Hatton), to solve it.
Honestly, the whole thing hinges on these characters, especially Drinkwater. Raymond Hatton’s portrayal of this reporter, who spends much of his time *pretending* to be sloshed to get information, is just fantastic. It’s not subtle acting, not by a long shot, but it has a certain charm to it. He’s always stumbling, slurring, and somehow getting exactly what he needs. It’s kind of a marvel, actually. 🤣
Dorothy Revier as Molly is pretty good too. She’s got that no-nonsense, independent vibe you see in a lot of female leads from this era. You really believe she’d go to bat for her old man. Her nightclub scenes felt a little tacked on at first, like, 'Oh, we need to show she’s a singer,' but she holds her own.
The pacing is… well, it’s 1930. Things move at their own speed. There are long stretches of dialogue, and then sudden bursts of action. The whole 'roof' aspect of the title doesn't even come into play as much as you'd think, which is a bit of a missed opportunity, but it does make for a few tense moments near the end.
One scene that stuck with me involved Drinkwater trying to charm a maid for clues. He offers her a piece of gum, and she just stares at him. He then *insists* she takes it, practically shoves it in her hand. It’s such a tiny, bizarre moment that tells you everything about his character without a lot of exposition. This guy is relentless, even if he looks like he’s about to fall over.
The actual mystery itself isn’t super complex. You’ll probably figure out who did it before the characters do. But that's not really the point with these sorts of films, is it? It’s more about the journey, the shenanigans these folks get into trying to clear Sommers's name.
There's a great little bit where Ted Palmer, the other reporter, tries to act tough, but he's clearly a bit out of his depth. He’s the straight man to Drinkwater’s antics, and it works. David Newell gives him a decent earnestness, even if he’s overshadowed a bit.
Some of the dialogue felt a bit clunky, almost like they were making it up as they went along in a few spots. But then you get a line from Drinkwater that’s just so perfectly *out there* that you forgive it. It’s **charming in its imperfection**, you know?
The film mostly sticks to its two main sets, which keeps things feeling pretty intimate, almost like a stage play. It keeps the focus tight on the characters and their often-comedic interactions. You don't get much in the way of grand cinematic sweeps here, which is fine. It’s a programmer, after all.
I also kept thinking about Laugh That Off, another film from around this time. It shares a similar kind of low-budget, high-spirit energy. These movies just don’t take themselves too seriously, and that’s their strength.
So, *Murder on the Roof* isn't going to redefine cinema, or even your perception of early sound films. But if you’re into old movies, especially ones where a character named Drinkwater gets to be the MVP, then absolutely give it a watch. It’s a fun, slightly unhinged ride. 🍸
IMDb —
1930
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