In the case of the 1933 and 1941 versions of "Whistling in the Dark," however, the difference is more than that, and it comes down to the leads in both films -- the subtle, Broadway-inflected performance of Ernest Truex in the 1933 version and the more exaggerated performance of Red Skelton in the 1941 film,
informed by his work on the radio and in vaudeville.
"Whistling in the Dark" by Laurence Gross and Edward Childs Carpenter came to the screen in 1933 with two of its main leads intact -- Edward Arnold as gangster Dillon and Truex as Wallace Porter, a best-selling author of mysteries who is forced into planning a real-life murder by Dillon and his associates. The author of the screenplay and the film's director is our old friend Elliott Nugent.
Dillon works for crime boss Lombardo (C. Henry Gordon) and is trying to extort protection money from stubborn brewer Otto Barfuss (our old friend Joseph Cawthorn). When Wally and his fiancee Toby (Una Merkel), on their way to get married, encounter car trouble just outside of Lombardo's estate, Wally meets Dillon and brags about his crime-solving expertise. Dillon holds Wally and Toby captive at the estate until Wally formulates a perfect murder plan that the gangsters can use on Barfuss.
Since prohibition and its related opportunities for crime were a moot point in 1941, the later version of "Whistling in the Dark" changes the gangster's estate to a "sanitarium" run by cult leader Jones (Conrad Veidt), whose racket is charming wealthy old ladies into joining his group and then leaving their earthly belongings to him when they pass.
|Wally tries his sponsor's product.|
The 1941 film also changes Wally's character to someone much more suited to Skelton's style of broad, visual comedy. Wally is still a crime expert, but here he is "The Fox," the hero of a radio show who, every night, foils the bad guys and saves Carol (Ann Rutherford), an actress who is also Wally's real-life girlfriend. The scene introducing Skelton's character nicely establishes that premise and shows us some fun footage of a radio show being produced:
The opening also establishes that the 1941 version of Wally has not one but three women in his life -- Carol; Fran, the sponsor's daughter (Virginia Grey); and his business manager, Buzz (Eve Arden, not utilized enough). The evil Jones visits Wally and poses as a prospective sponsor for his show -- then when he gets Wally out to his estate, Jones forces him to plan the murder of an heir who is standing between Jones and a cult member's fortune. Carol and Fran end up at the mansion too, held captive with Wally.
In both films, Wally tries unsuccessfully to call for help, with Truex's underplaying taking the honors here -- he tries to make the call as quietly as possible and ends up mumbling into the mouthpiece:
inspired by the success of "The Ghost Breakers" of the year before, a haunted house movie with Bob Hope and Paulette Goddard. It involves Skelton, Rutherford and Grey trying to escape by following a secret passageway and running across assorted skeletons and mummies designed to supply a quick fright/laugh to the audience.
Wally does end up concocting a plan for murder that involves slipping poison into the victim's toothpaste tube. Once the gang leaves to implement the plan, Wally starts trying to contact the authorities by rigging up a radio to use as a transmitter. One of the denser gangsters finds out (played by Nat Pendleton in the 1933 film and Rags Ragland in the 1941 film), and Wally pretends he's doing a radio broadcast to throw the guy off. Here's how the scene plays out in both films:
The 1941 version of "Whistling in the Dark" was much more popular than the 1933 one -- so popular that Skelton appeared in two sequels. As for Truex, he alternated between Broadway and Hollywood, appearing in the films "Bachelor Mother" and "Christmas in July," among others, and the play "George Washington Slept Here," which was made into a 1942 film with Jack Benny. Truex also appeared in two episodes of "The Twilight Zone," including the classic "Kick the Can."