The Solitaire Man: A charming but dated caper

Is it worth your time?

Honestly, you probably know if you’re into this within the first five minutes. If you like those dusty 1930s crime pictures where everyone speaks in complete, perfectly formed paragraphs, you'll be fine. If you need something with a bit more grit or, you know, actual momentum, maybe skip it. It’s got that stage-play energy that just refuses to let a scene breathe without someone explaining exactly what they're feeling.

Cinematic perspective: Exploring the visual vocabulary of The Solitaire Man (1933) through its definitive frames.

Herbert Marshall is doing a lot of heavy lifting here as the 'Solitaire Man' himself. He’s got that classic, weary elegance that makes you believe he’s actually tired of stealing jewels. But man, the chemistry with Helen feels a bit like two people reading from a script they just found in a lobby. It’s not bad, just… very polite.

Cinematic perspective: Exploring the visual vocabulary of The Solitaire Man (1933) through its definitive frames.

The whole plot hinges on a necklace that keeps changing hands, and honestly, I stopped caring who had it about halfway through. It becomes less of a mystery and more of a relay race. There’s a scene in a train compartment that drags on for what feels like an entire decade. It’s just people sitting around, looking concerned about the Scotland Yard inspector who just happens to be dead in the next room. Very casual stuff, really. 🙄

Cinematic perspective: Exploring the visual vocabulary of The Solitaire Man (1933) through its definitive frames.

Odd little things I noticed:

• The way people hold their cigarettes in this movie is practically an art form.
• The Scotland Yard office looks like it’s made entirely of cardboard and wishful thinking.
• There’s a background actor in the third act who clearly has no idea where he’s supposed to be standing. He just kind of hovers near a bookshelf for three straight minutes.

It’s not quite as stiff as some of the other historical stuff I’ve poked around lately, like Marc'Antonio e Cleopatra, but it’s certainly not breaking any speed records. It feels trapped by its own dialogue, like the writers were terrified of a moment where nobody was talking.

Cinematic perspective: Exploring the visual vocabulary of The Solitaire Man (1933) through its definitive frames.

If you're a fan of old capers, it's a nice curiosity. It’s definitely not as adventurous as Simba: The King of the Beasts, but it has its moments. Just don't go in expecting a thriller that keeps you up at night. You'll probably be asleep before the final act, which is maybe the best part, honestly. It’s the kind of movie that plays best on a rainy Sunday when you’re half-distracted by a crossword puzzle anyway.

Cinematic perspective: Exploring the visual vocabulary of The Solitaire Man (1933) through its definitive frames.

Also, the lighting is weirdly flat, like they forgot to turn on half the lamps in the studio. It gives everything this weird, grayish tint that just makes you want to turn up the brightness on your TV. Don't bother, it's just the film stock. Or maybe my eyes are just tired.