The Black Camel (1931) watch online HD

The 2nd real Charlie Chan film, the earliest to survive of the 38 that Warner Oland and then Sidney Toler churned out over the next 16 years for Fox and Monogram. Pretty faithful to Earl Derr Bigger's book, this only suffers mildly from the echoey staginess associated with early talkies, with some erratic acting but also some lovely smoky visuals of "Honolulu".

A woman with a dark past is stabbed to death at a hotel - of course all of the guests along with the butler and maid are involved for Charlie to sort through and mull over. Unravelling the threads of the mystery Charlie proved his eyes had microscopic capabilities (wonder how much DNA fingerprinting would've slowed him down?) - and that he was one of those "very clever men able to bite pie without breaking crust". There's a beautiful scene with the entire Chan Clan at the breakfast table that's worth a look on it's own. It all runs delightfully true to form, the excellent polished cast playing up well, especially young Robert Young and Bela Lugosi.

I can't speak for everyone else of course but I still cherish the hope films 1/3/4/5 will one day be found for the additional 5 hours pleasure.

I'd seen this film before on a private-edition videotape and have now watched it again on the version in the Fox Charlie Chan, vol. 3 DVD boxed set. This is one of the greatest films in the Charlie Chan series with Warner Oland — of the later films that exist only "Charlie Chan at the Opera" (ironically with another horror icon, Boris Karloff, in its cast) matches it — thanks to Hamilton MacFadden's dark, atmospheric direction; a script that sticks closely to Earl Derr Biggers' source novel (except for omitting the long prologue on the ship that takes the principal characters to Hawai'i); superb art direction by Ben Carré and a marvelous cast, including Bela Lugosi playing an unusual range of emotions for him (the scene in which he confronts Dorothy Revier early on is especially impressive and not at all what we think of as Lugosi's usual acting style); a welcome reunion between him and his "Dracula" cast-mate Dwight Frye; Robert Young looking like he just graduated from high school as the suitor of Shelah Fane's personal assistant (Sally Eilers); and excellent cinematography by Joseph August and Daniel Clark, more prestigious cameramen than usually worked on the Chan films. It's nice to see Chan's family used the way they were in the Biggers novels (Biggers frequently wrote scenes in which the Chans sit down to dinner and Charlie brings them — and us — up to speed on the latest developments in his case), and another welcome touch in this film is the artful use of "source" Hawai'ian music in lieu of orchestral underscoring. While it's likely the Hawai'ian location trip only involved a second unit shooting backgrounds (there are some pretty obvious process shots here) and the Hawai'ian music could have just as easily been recorded in L.A. (where there was a large community of Hawai'ian musicians at the time), nonetheless "The Black Camel" is vividly atmospheric. Why Hamilton MacFadden didn't have much of a directorial career after the mid-1930's — and none at all after 1945 — is a mystery; judging by this film he would have been a "natural" for the noir genre.

Hollywood star Shelah Fane is filming her latest movie in Honolulu, while keeping her name in the papers with her whirlwind romance to Alan Jaynes, traveling playboy. Shelah decides to send for her psychic consultant, Tarneverro, to advise her if marrying Jaynes is the right thing for her to do, but while consulting with him, Shelah hints of a murder she committed a few years earlier, one Denny Mayo. Later she is found dead by her friend Julie, and the case is turned over to Inspector Charlie Chan, who has to figure out the Denny Mayo connection to both Shelah and the murder suspect. Nice entry in the Chan series, helped immensely by the on location shooting in Hawaii. Even with Lugosi as Tarneverro (a suspect no doubt) the suspects do not really give any sinister or worth-a-closer-look performances here. Yamaoka is really annoying as Chan's bumbling assistant (the latter word used loosely) Kashimo. The main problem with the film is too many characters with their own story in a movie that can't quite crack the B movie mold. Later remade as Charlie Chan in Rio. Rating, based on B mysteries, 4.

With the character loosely based on Chang Apana (1887-1933), a police officer of Chinese heritage, author Earl Derr Biggers wrote six Charlie Chan novels between 1925 and 1932. House Without A Key and The Chinese Parrot were filmed as silents in 1926; Behind That Curtain was filmed, with Chan reduced to a minor character, in 1929. Starring various actors and filmed as individual pieces, none of the films can be described as entries in the series, but in 1931 Fox Studios cast Warner Oland in Charlie Chan Carries On--and with its success Fox Studios discovered a money spinner. Between 1931 and 1942 the studio would create no less than 27 Charlie Chan films, first starring Warner Oland and then starring Sidney Toler.

Charlie Chan Carries On has not survived. The earliest Chan film of the series that still exists is The Black Camel, which is based on the 1929 Diggers novel. The film follows the book quite closely. Shelia Fane (Dorothy Reiver) is an actress who has come to Hawaii to make a motion picture. She has fallen in love with a wealthy man and wants to marry--but she is troubled by something that has occurred in her past. She accordingly sends for psychic Tarneverro (Bela Lugosi), who warns her not to marry--but no sooner does she refuse the marriage than she is found dead, stabbed, in her beachfront home.

Like most of the later Chan films, The Black Camel has a remarkable cast that includes an unexpected number of notables. Bela Lugosi has already been mentioned, and other up-and-comers include Robert Young and character actor Dwight Frye. But this film is very early in the game, and Fox is still tinkering with style and characters; instead of being assisted by a son, Chan is saddled with inept junior officer Kashimo (Otto Yamaoka), a character drawn directly from the Biggers novel. The chemistry is not effective, and although most of the cast offers good performances much the same might be said of the project as a whole.

Part of the problem is the story itself. Apparently suggested by the 1920s murder of Hollywood director William Desmond Taylor, the plot itself is more than adequate, but the "how and why" details of the investigation are awkward. The script itself has an occasional zinger (at one point Chan warns Kashimo that "the wages of stupidity is search for new job!") but by and large it never manages to strike the balance between mystery and comedy for which the series was ultimately famous. It is also a film very much of the early sound era, which is to say visually static, and although it was partly filmed on Hawaiian location one sees little of the islands.

Overall, and while it has its moments, this is really a film best left to Chan fans, who will be interested to see the character at an early stage of development. Unfortunately, however, Chan fans will have a problem latching onto it: it is not presently available on either VHS or DVD and it is seldom broadcast.

Gary F. Taylor, aka GFT, Amazon Reviewer

One of the very best of the early Charlie Chan films,'The Black Camel' features Warner Oland in his second outing as the Honolulu detective.With actual filming on Hawaiian locations(one of the few that did)the oriental sleuth tries to solve the murder of an unpleasant and very unpopular young actress,sifting through the usual baffling clues,and investigating one of the finest casts of suspects ever assembled for the series:Murray Kinnell,Victor Varconi,Robert Young,Richard Tucker and(fresh from their triumph in 'Dracula')Dwight Frye and Bela Lugosi!Viewers will also enjoy a look at Charlie's domestic life and huge family.In these earlier Chan films much of the basic plotlines followed the stories of Earl Derr Biggers' novels.

This was the second Chan film to star Warner Oland in the role. It is also the earliest film of the series proper to survive. (1929's Fox film "Behind That Curtain" is still extant, but has Chan in a very minor part and isn't a true Chan film). It was actually filmed in Honolulu and captures that city as it was in the early 30's. Two "Dracula" alumni appear: the great Bela Lugosi, and Dwight Frye who played Renfield in the horror classic and is a butler here. Based on the Earl Derr Bigger's novel, this was later remade as "Charlie Chan in Rio" with Sidney Toler in the lead. This one is better. Sadly, it appears available only on the collectors' film market. It is worth the search and the viewing. Beware of copies with scenes missing!

This film, taken from one of Earl Der Biggers original novels is one of the very best of the Chans. It is the second of the series, and the first, third, fourth and fifth are lost films. We can see the early Chan only through this film, and we see a very human Chan, rather than the more restrained Chan in the later films.

It also features a near tour-de-force scene by Bela Lugosi in which he, as the fortune teller to the stars Tarnaverro, forces a confession from Shela Fane, a movie star making a film in Honolulu. A confession that he witholds from Charlie Chan...

I must forewarn, one and all, I love murder mysteries. I am also a huge fan of the Earl der Biggers character, Charlie Chan. They are rather formulaic with their always being a young lovebirds involved in each case. The handsome young man in this one...was Robert Young's first starring role. The cast included Bela Lugosi and Dwight Frye, apparently they had become a tagteam of sorts. Their movie Dracula had come out earlier that year. Bela played a famous mind reader that was in Hawaii on business. We meet Warner Oland, my personal favorite Charlie Chan, casing the mind reader, trying to disguise himself as a Chinese business man. Of course, Bela sees right through the charade and deduces that Charlie is really a policeman...Charlie warns Bela that they don't care for ripoff artists on the islands. Bela tells Charlie that they are both mystics...Chan investigates the past, while he investigates the future. The movie was full of plot twists and red herrings. The direction was crisp and the acting first rate. Though, in today's world of political correctness, the Asian stereotypes would be and are inappropriate...if one can overlook accepted bias' from eons ago...you can enjoy one of the first Charlie Chan's ever made. I believe Charlie Chan Carries On is the first episode of Charlie Chan, portrayed by Warner Oland...this is the second episode and one well worth your time to watch.

Primitive but fairly engaging Charlie Chan mystery, the first surviving film featuring Warner Oland as the genial Oriental detective: its major draws are the Hawaiian backdrop, the murder investigation centering around Hollywood elite and the interesting cast (including Bela Lugosi as a phony mystic, Dwight Frye as an impulsive butler named Jessup, and a pre-stardom Robert Young forming half of the bland romantic interest). Some of its greatest pleasure, then, derives from the interaction between Oland and Lugosi – but also the former's relentless amiable mocking of his earnest but dim-witted assistant. The surprising denouement is not entirely plausible (though seemingly anticipating Hitchcock's STAGE FRIGHT [1950]) – with a revelation concerning Lugosi's true identity, and where the presence of a second murderer is ultimately established. By the way, the film's title – as explained by Chan – is a metaphor for death when it arrives unexpectedly.

P.S. As was the case recently with HORROR ISLAND (1941), my second attempt at watching THE BLACK CAMEL proved more successful than the first – where the playback had frozen completely three-quarters of the way in…and left me curious about the eventual solution of the case!

As an avid Charlie Chan film buff..i,ve managed over the years to

obtain all of the "feature films"..The Black Camel is the earliest of all of the surviving films with Warner Oland portraying the great oriental slueth. This particular film was shot on location in Honolulu and is very entertaining..It also features Bela Lugosi as the fortune teller..Tarneverro..A fast moving story and a great cast of characters make this a "must have" for classic film buffs!

Really good Charlie Chan mystery - this one will not disappoint. I've read this is the earliest surviving Charlie Chan film.

This one has plenty of comical moments to keep the viewer laughing and enough mystery to keep you involved in the interesting story.

Kashimo, Chan's sidekick, is a blast to watch - very funny together. The two of them really make this film great - stand out. Kashimo is one of my favorite characters in this one.

If you are a fan of the other Charlie Chan film or of Warner Oland then you should really get a kick out of this one. Fans of Robert Young, Bela Lugosi and Dwight Fry will enjoy this one as well.

8/10

The Black Camel (1931)

*** (out of 4)

Hollywood actress Shelah Fane (Dorothy Revier) is in Hawaii filming a new movie and she's also been asked by a man for her hand in marriage. Before she can commit she calls on her personal psychic Tarneverro (Bela Lugosi) for a reading. Not long afterwards the actress is found dead in her room and Inspector Charlie Chan (Warner Oland) is soon on the case, which contains a number of possible suspects.

This here was Oland's second time playing Chan but sadly the first film CHARLIE CHAN CARRIES ON is now lost. THE BLACK CAMEL is the earliest surviving film from Oland's series and it's also a terrific way for one to be introduced to the character, the actor and the series. This here is certainly a very good mystery that has some terrific lines, an excellent cast and of course the character of Chan is just so good that it's really hard to mess it up.

The film benefits from having a pretty good mystery. We're given a good amount of screen time to get to know the eventual victim and I think this makes the viewer have a stronger interest in finding out those guilty of her murder. The screenplay not only gives us the victim to like but we're also treated to a terrific amount of suspicious characters including the psychic, the man the victim turned down for marriage as well as others who might surround another mysterious death. The screenplay is at least written well enough to where you are kept guessing at who the killer might be right up to the conclusion.

These characters are brought to life thanks in large part to the wonderful performances with Oland clearly leading the way. Having come off playing Dr. FuManchu, you have to wonder why Oland wanted to jump into another Asian character but thankfully for film buffs he did. He's really terrific here and there's not a single second where you don't believe him as this character. Lugosi is also excellent in his supporting role and his chemistry with Oland makes you disappointed that they didn't team up in further outings. I also thought Revier was very good in her early scenes as were Sally Eilers and William Post, Jr.. Horror fans will also enjoy seeing Dwight Frye in a good supporting role.

THE BLACK CAMEL has some flaws including the incredibly annoying assistant Kashimo but this here doesn't take away too much of the film's charm. The terrific cast, strong characters and good mystery makes this film very much worth checking out.

The quality of the film isn't the best, the acting is stilted and over the top, but 1931's "The Black Camel," the earliest extant Charlie Chan featuring Warner Oland, makes for fun viewing. Charlie is on his home court of Hawaii, where an actress, Shelah Fane (Dorothy Revier) is found murdered after consulting a psychic (Bela Lugosi) about whether or not she should marry someone she has fallen in love with.

This is only the first murder; another one follows. On investigation, Charlie discovers a connection to the case with a previous Hollywood murder, which went unsolved.

It's an absolute riot to see Bela Lugosi as a psychic named Tarneverro whose real name is Arthur Mayo. Better yet is Robert Young, who looks like he's about 16, as Jimmy Bradshaw. Then there's this nut job (who at one point actually ran onto a scene and scared me), Otto Yamaoka, who plays Kashimo. Kashimo is the forerunner of Lee Chan and Birmingham the chauffeur but he's crazier than a coot with his flapping arms and explosive voice.

We also get a chance to see Charlie at home with his large family, admonishing his son: "Why are you always last in your class? Can't you find some other place?" Son: "They were all taken." This particular entry into the series is steeped in cinematic history: it is the only surviving film out of five films starring Warner Oland that were based on the novels of Earl Derr Biggers; and it was shot in Honolulu in 1931. Back then location shoots were a rarity. Also, Earl Derr Biggers visited the set in Honolulu with a copy of his 1929 novel and gave it to Chang Apana, the real-life Charlie Chan.

Definitely worth seeing, and a neat mystery. There is a gaping hole in the plot; see if you can find it.

The title is based on the saying: "Death is a black camel that kneels unbidden at every gate."

This is more interesting than some of the other entries in the series. In 1931 Fox seemed to be hitting its stride with Warner Oland. The plot isn't very different, but the director, Hamilton MacFadden, handles the story with zip. It must have cost more. When Charlie is interrogating a suspect, the others stand around in a semi circle although they have nothing much to contribute except expressions of concern or scowls of disapproval. There aren't many atmosphere people because there's little need for them, but they're managed nicely too. It all adds visual texture.

And, as far as I can remember, this is the only Charlie Chan movie I've ever seen that was actually shot on location. We see the Royal Hawaiian Hotel, Diamond Head, the Punchbowl, all tourist spots. And especially impressive are the first opening scenes of a movie being shot on Waikiki Beach, right about the spot from which I once stole a towel belonging to the Moana. There's something about that old black and white film stock. The white sand practically glows in the sunlight. The breeze blows, the curtain of the dressing-room tent billows, and the sea scintillates with diamonds.

It's also kind of neat to see both Dracula (Bela Lugosi) and his hapless victim Renfield (Dwight Frye) in subordinate roles. There is also an extraordinarily young Robert Young as a gay vacationer in love with one of the female suspects. As Charlie, Warner Oland is jowly and shabby but quick on his mental feet. He practically toe dances across everybody else, including his superiors in the Honolulu Police Department.

The plot? Oh, that. A beautiful young actress is murdered. There are at least half a dozen suspects who seem to be hiding something. No old houses or trap doors or mechanical tricks though. They weren't really needed. When one of those raggedy but devoted artists is shot in the back, it's done in the great outdoors, among the coconut palms. Did I say that good use was made of locations? I think I did. Scenes that could readily have been done back at the Fox Studio -- a contretemps on the lanai, a brief exchange over lunch al fresco -- are photographed in the actual settings instead of a sound stage.

The dialog is what we've come to expect from Charlie Chan. "Harder to keep murder secret than to bounce egg on sidewalk." "Use lie detector? I already have one -- called wife." And "If it walk like duck and talk like duck, then need few more minutes in microwave." (Well, not that one.) It's 1931, folks. The movie looks a little contrived in many ways, but consider its era. And its place in history. These mostly inexpensive little features were cash cows for the studios of the time. Most of these series are almost forgotten now -- Deanna Durbin, Shirley Temple, The Three Mesquiteers, Mister Wong and Mister Moto -- but they kept people working during some hard times.

Almost all the earliest Charlie Chan films have disappeared over time--probably the result of fires in storage facilities. Because of this, all that remains of the earliest Chan films is a Spanish language version of CHARLIE CHAN CARRIED ON (ERAN TRECE) and BEHIND THAT CURTAIN--films that only have Chan in the last portion of the film. He is truly a supporting character, not the star. The oldest true Charlie Chan film is THE BLACK CAMEL and fortunately it was released a couple years back in THE CHARLIE CHAN COLLECTION VOLUME 3. The film stars Charlie and has all the expected plot elements. Why they put this film in volume 3 is beyond me, but at least it's now available to the public once again.

While this one is very early, it at least fits the familiar formula. Of the plots I have read about earlier Chan films as well as ERAN TRECE, Chan was more of a minor character. Here, he is definitely the star and has settled into a role very familiar to die-hard fans. In addition, he has excellent supporting actors (especially Bela Lugosi) but there are no Chan children on hand to aid (or hinder) his investigation. Instead, there's a super-stupid and annoying Japanese-American sidekick who was best replaced in subsequent films! The plot involves a murdered starlet and the case is actually not too convoluted and makes more sense than many of the later entries. In fact, had #1 son been on hand instead of the Japanese-American idiot, the film would have probably earned a 9--it was THAT good compared to other films in the series. Good writing, acting and direction--this film is well worth seeking.

Since "Charlie Chan Carries On" seems to be lost, for us today "The Black Camel" is the beginning of the magnificent, hugely popular and uniquely long-running film series about the gentle, polite, sometimes funny but also VERY clever Chinese detective, played by three different actors at two different studios. The first one, of course, was Warner Oland, who for many fans until today remains THE 'screen' Charlie Chan, utterly faithful to the character created by Earl Derr Biggers in 1923.

And "The Black Camel", the first 'surviving' movie of the series, certainly is among the very best. It tells us a very intricate story about the murder of a famous actress, which seems somehow connected to the murder of another Hollywood actor a few years before; there's a mysterious 'fortune teller' in whom the actress used to confide all her secrets, and whom she'd summoned to Hawaii, where the film shooting takes place, especially to ask him whether or not she should marry a rich young playboy she'd fallen in love with; there's her ex-husband, who 'happens' to be in Honolulu as well; there's an impoverished painter who lives nearby and obviously knows too much - and so on...

And Charlie Chan handles the case with the utmost delicacy, humble and courteous, and philosophical: 'Death is a black camel that kneels unbidden at every door', he cites one of his many old Asiatic sayings - hence the title... But when it comes to finding out who the murderer is, he becomes tough and unrelenting - seemingly...

Charlie Chan is a REALLY special case in the history of crime movies: he was not only one of the few REALLY intelligent and capable cops (who used to be presented as plain flat-heads most of the time), but he was also the first Asian protagonist in Hollywood to be depicted in a VERY positive and sympathetic light (in contrast to the 'yellow danger' represented by 'Dr. Fu Manchu' and others at the time) - and until this day remains to us, no matter what color we are, the most amiable of all classic Hollywood police detectives!

But back to "The Black Camel" seen purely as a movie, a murder mystery: the beautiful Hawaiian background is wonderfully photographed, in contrast to the very suspenseful nightly scenes, with menacing shadows masterfully used to send shivers up our spines. The cast is absolutely great - with none less than Bela Lugosi as guest star, playing the mysterious 'Tarneverro', and giving one of his best and most moving performances. In short, it's not just the 'beginning' of a wonderful and unforgettable movie series, but also an absolute masterpiece in itself.

The Black Camel,made by the old FOX studios in 1931 is a cheaply made b-movie,typical of its time & period.

All b-movies were shown either as part of a double bill or with some acts of vaudeville.

This does not mean that it is a bad movie, It is enjoyable for what it is.

Charlie Chan is portrayed by Warner Oland, The later Chan's are not as good as Mr.Oland was.

In the cast is also Bela Lugosi ( whose next film was Dracula). Here in a non-menacing role he is quite good.

Also cast in his first performance in a sound film, He was in one silent movie as an extra) Marcus Welby himself, ROBERT YOUNG, he was 27 at the time but looked like a late teen.In this first role, you could see the promise of the fine actor he became.

The distaff side of the cast are featured actresses of the period & are OK.

The film was partly made in Hawaii,Most scenes were done in the old FOX lot at Sunset Blvd & Western Ave,

(Historical note: the opening credits has the 20 Th Century Fox Logo, but 20th was not founded till 1935 )

One other note (SPOILER ALERT) an actress is stabbed in the heart & no blood appears,even tho this is a pre_code film,, they could not show blood or wounds. NOTE in movies where someone is shot, you never see bullet holes in clothes. This was the way they made movies back then.

This movie is available as a rental from NETFLIX, watch it for curiosity sake,do not expect much. the film is fast & likable.

Ratimgs: **1/2 (out of 4) 69 points (out of 100) IMDb 6 (out of 10) ***

*** for a old b-movie this is a relatively high rating.

Early Charlie Chan film notable today for being the only one of the first five Warner Oland Charlie Chan films to survive. The other four are sadly lost. Charlie Chan (Warner Oland) investigates a movie star's murder and how it connects to an unsolved murder from three years earlier. The suspects include Bela Lugosi as a psychic, Dwight Frye as a butler, and Robert Young, in his film debut, as an annoying guy who keeps coming up with lame slogans.

Interesting early non-horror work from Lugosi. At times, he seems so different from the Lugosi we know -- more at ease and not at all hammy. At other times he is the Bela we expect -- mid-sentence pauses and exaggerated facial expressions. Oland is good but he would get better as the series goes along. There are no sons for Charlie here, but he does have a rather unfunny sidekick named Kashimo (Otto Yamaoka). Very nice direction and a script based on Earl Derr Biggers' book of the same name. A must for Chan fans.

This is the earliest surviving Charlie Chan film to star Warner Oland as the detective (not counting 1929's BEHIND THAT CURTAIN, which only briefly featured Chan), an entertaining mystery nicely directed with stylish shooting and locations for such an early talkie. Chan is in Honolulu investigating the murder of a young movie actress and tries to untangle the relation between her death and a prior killing of another actor she used to know. Bela Lugosi, fresh after "Dracula" and riding its successes for a brief time in his career, is very good as a mystic involved in the mystery. A real treat of the picture comes whenever watching Lugosi and Oland interacting together. Dwight Frye, Bela's sidekick "Renfield" from "Dracula", also has a part as a butler. A very young Robert Young (of FATHER KNOWS BEST fame) is also on hand albeit in a rather insignificant part. This was the only time Chan was assisted by his bumbling sidekick Kashimo, and it's for the best, as this character is extremely irritating. *** out of ****

On her way to Hawaii to make a movie, actress Shelah Fane meets and falls in love with a very wealthy man. She intends to marry him but something from her past is troubling her. After she is talked out of going through with the wedding by her psychic Tarneverro (Bela Lugosi), Shelah Fane is found dead in her ocean front bungalow. Unfortunately for the murderer, Charlie Chan (Warner Oland) is on the case.

I am a very unabashed Charlie Chan fan. So finally having the opportunity to watch the oldest known surviving Chan film (okay, I realize there are older films with the Chan character, but I do not consider them part of the official series) was a real treat. And if nothing else, The Black Camel is wonderful from a historical perspective. It's a fascinating look into the early developments of the Chan character. It's also a chance to see a very early example of sound used in a movie. And on the basis of these facts alone, the movie deserves to be seen and enjoyed.

But the movie is more than just a historical curiosity. It's an enjoyable murder mystery. It's by no means perfect, but I was nonetheless entertained throughout. The cast is surprisingly strong. In later films, Oland would play Chan more confidently, but here it's interesting to watch him get his feet wet with the character. Lugosi always excelled at playing these foreign mystic type roles and does so here. Also on hand are a very young Robert Taylor, Dwight Frye, and C. Henry Gordon who appeared in a number of Chan films. Overall, it's a nice cast.

The plot in The Black Camel is fairly interesting and director Hamilton MacFadden keeps things moving at a good pace. It's not the most compelling Chan mystery, but I did enjoy playing along. I must confess, however, that the ending does get a bit muddled as to the how's and why's of everything. As The Black Camel was released in 1931, there are a number of shortcomings in the movie common with many of the other early talkies. The movie suffers from the "stagey" feeling I sometimes notice. Also, a soundtrack would have gone a long way in creating even more interest in the film. But these weaknesses are easily forgivable.

Overall, Chan fans should rejoice that The Black Camel is finally available on a legit DVD release. I know it's made me very happy.

I am sick take too long why they ignore modern day to reboot live actions. Like Dracula, I am sick accept 1930 way they were.

One of the first of the Warner Oland Charlie Chan movies is a beautifully restored print from 1931. It has other surprises too. It was filmed on location in Charlie Chan's home base of Honolulu and uses the scenery to great effect. It is cryptically called The Black Camel.

Fresh off the horror of the year, Dracula, you have two cast members in fine fettle: Dwight Frye and Bela Lugosi. They play a respective butler and a questionable psychic, all too willing to help Chan.

Lugosi and Frye were scheduled to make James Whale's Frankenstein after this picture, but when Whale saw this, he thought Bela Lugosi would be too scary for the monster. The part went to Karloff instead.

The film does not hide some white tourist prejudice, compounded because the detective is both Chinese and a policeman. And, the cast of extras includes many Hawaiians.

The dark metaphor of the Black Camel has something to do with kneeling Death coming a-calling. It is one of many little aphorisms that Charlie Chan spouts dryly.

Instead of an irritating older son, this film features an inept young assistant to Chan. We do see Charlie's family at a large dinner table in one scene, but the cheap sets and low budget formula would come in the next few films.

Warner Oland is masterful, as always, and it is quite a mangled English that we hear from both Oland and Lugosi in their conversations, that are witty.

There are a half-dozen quite credible suspects, and they are indeed all gathered in the drawing room (and dining room) for the big reveal.

This wonderful early mystery is a surprise and delight on every level.

The first Charlie Chan movie that still exists is this offering. The title is based on a saying about a black camel kneeling at a doorstep as a sign of death. No camels in the movie which takes place in Honolulu. An actress has been murdered. She has been weighing the possibility of marrying a man and has been dissuaded by a mystic, played by the great Bela Lugosi. This film is filled with wonderful character actors. One of them, Dwight Frye, played Renfield, the madman, who is Dracula's henchman in the most famous of the films. Chan faces racism and avoidance. He must suffer respect from the rich populace. He is a master of precision, despite having an idiot partner who just gets in the way. One great line I loved has to do with his son, who is failing at school. When asked why he is last in his class, he replies that all the other positions were already taken. This is an entertaining, multi-layered whodunnit. There are some rather suspect events. For example a man is shot and lies dying in his bed. The law goes to extract information from him, but no-one makes the slightest effort to get a doctor. Off to a good start.

"The Black Camel" is the only Charlie Chan film adapted from the original Esrl Derr Biggers books to survive. "Charlie Chan Carries On" exists only in a Spanish version (which isn't bad) however, the other four, all starring Warner Oland have evidently been lost.

The title by the way, refers to a symbol of death (a black camel) in that it is supposed to kneel at the door of a murdered victim.

Shelah Fane is a movie star in Honolulu to film her latest feature. She wants to marry rich playboy Alan Jayner (William Post Jr.) but wants to consult her psychic Tarneverro (Bela Lugosi) for advice. He convinces her not to marry. We learn that movie director Denny Mayo had been murdered three years earlier in Hollywood and that the murder is unsolved. Many of those that had been connected to Mayo are among the guests in Honolulu. Later Shelah is found murdered in her tent on location by young lovers Jimmy Bradshaw (Robert Young in his first film) and Julie O'Neil, Shelah's friend (Sally Eilers).

Inspector Charlie Chan (Oland) is brought into the case. He discovers that Tarneverro and the maid Anna (Violet Dunn) may be concealing secrets. Chan also learns Shelah's ex-husband and actor Robert Fyfe (Victor Varconi) was in Honolulu appearing in a play. He is immediately suspected. Chan gathers all of the clues, has an attempt on his life before finally identifying the murderer.

Oland in his second appearance as Chan looks comfortable in his role. He is aided by his Japanese bumbling assistant Kashimo (Otto Yamaoka) a forerunner of Number One son who would not appear in the series until "Charlie Chan in Paris" in 1935. Bela Lugosi had just filmed his breakthrough role in "Dracula" (1931) and not as yet achieved international fame. Dwight Frye who appeared as "Renfield" in "Dracula", appears here as the sinister butler Jessop. Oland would appear five years later with that "other" breakthrough star from 1931, Boris Karloff in "Charlie Chan at the Opera".

SYNOPSIS: A film star is murdered whilst making a movie on location in Honolulu. (Of course, there is no black camel anywhere in the plot, but you can't have everything).

COMMENT: This, the 5th movie in the Charlie Chan series is one of the best. To begin with, it boasts a great cast. True, Bela Lugosi is often photographed from somewhat unflattering angles, but this, if anything, makes his characterization more interesting. Another point in the movie's favor, of course, is Warner Oland, here giving a more rounded interpretation before Chan became stereotyped. Otto Yamoaka tends to overdo the comedy relief, but his scenes are brief and even, at times, mildly amusing. As the female lead, Sally Eilers is cast in the shadow of Dorothy Revier, who, although she has a much smaller role, is the girl you remember. And although not always photographed to his advantage, Robert Young, also makes a lasting impression despite the fact that the sub-plot in which he is cast is ho-hum conventional. Another character everyone always remembers from this entry is the beach bum so convincingly yet charismatically played by Murray Kinnell. And of course a final point which stays in everyone's memory is the appearance (in both senses of the word) of Hamilton MacFadden as the film-within-the-film's director and Daniel B. Clark as the location cameraman.