The Thin Man Goes Home (1945)

The Thin Man Goes Home (1945)

There are hints that Nick and Nora’s (William Powell and Myrna Loy) trip to his childhood home is part of an ongoing case, but they are never truly detailed or explored.

The other option is that wherever ex-private detective Nick goes (as is Implied) murder follows.

Whatever the case may be, as soon as they reach the town, gossip immediately begins that he’s on a case which (despite a local reputation of no incidence of crime, a runaway horse at Christmas is all Mom can recall,) a couple of shady art dealers become paranoid and desperate actions lead to a young man murdered at Nick’s parents’ doorstep; but who is truly responsible?

Nora hopes that by solving a difficult case Nick will impress his disapproving father; but by getting involved he is actually endangering his father’s new hospital project.

Once again, the couple is taken away from what and where they do best: no high-society parties for Nick to clash with; no mingling with disreputable folks to amuse Nora, (though there is an obvious red-herring Nora falls for though the audience should be one step ahead of her and of the eventual reveal); and, in what might even be a first, not a single drop of alcohol is drunk by anyone, (Booo!)

Some American films, though dealing with the possibility of the oncoming war dealt with the subject but hesitate to acknowledge the subject openly.

It’s odd that by 1945 this film is still reticent to mention the term espionage or that it relates to WWII, already in full swing. It should nevertheless be obvious to audiences today that this is so. Maybe there were rumors of armistice already and the studio didn’t want to cause further troubles? It might have to do with the actual production dates, but who knows?

Good choice to have left the kid behind (and out of the way) for this adventure, (Asta’s still there though.)

With Lucile Watson, Gloria DeHaven, Anne Revere, Helen Vinson, Harry Davenport, Leon Ames and the always welcome Donald Meek.