User reviews

This is the fourth sequel to the 1934 smash hit THE THIN MAN. Just when I would have thought the series was dead the producers and writers were able to add life to the franchise.

Nick goes home and of course gets dragged into another murder mystery. Nora, who by now should no longer be curious to see Nick solve a mystery, tries to get Nick to solve a murder mystery so he can impress his father the medical doctor. Nick's father had always hoped his son would have become a doctor and when Nick became a cop and then detective he looked down on him. As far as the mystery goes it follows the typical THIN MAN formula. A bunch of suspects are introduced and in the end Nick rounds them all up and reveals the killer.

The comedy is better than ever. Rather than have Nick always drinking and having jokes centered around his drinking Nick is now sober. The jokes are even funnier because everyone believes he is still a drunk and he just can't convince them otherwise. The scene in his Dad's parlor is hilarious. Nick is stone sober but due to a series of mishaps he is on the floor and appears to all to be drunk as ever. Also, when Nick recounts his childhood to Nora and tells her of his trips to the wood shed that brings back memories of my childhood and trips to the wood shed.

This is my second favorite THIN MAN movie. Right behind AFTER THE THIN MAN and just before the original THIN MAN. It is an almost perfect blend of mystery and comedy.

The Thin Man Goes Home find's Nick and Nora Charles visiting Nick's parents in their small New England town. The parents are Harry Davenport and Lucile Watson and Davenport has never gotten quite over the fact that Bill Powell did not choose to follow him in the medical profession. And he disapproves of Powell's liquid lunches mightily. Powell goes on a spartan diet of apple cider though no one believes him and that's a source of a lot of the comedy in The Thin Man Goes Home.

Of course no one also believes that Powell could be in town on anything but business and his mere presence touches off one guy ready to confess to some illegal activity when he's shot to death right on the doorstep of Davenport. An espionage ring his uncovered during the course of the investigation and the murderer who is eventually uncovered is not someone we would suspect. Due to some falsification of evidence the murderer almost gets away with it.

Here's a hint for you though. Forensics here more than in any other Thin Man film plays a part in the solution leading Harry Davenport to be proud that his influence was for the good with Powell.

When World War II started Myrna Loy unlike any other female star in Hollywood completely abandoned her career to devote herself to work with the Red Cross and other civilian agencies. It was a sacrifice that no other star of her gender made during the war years. This film was the only one she made from Pearl Harbor to V.E. Day.

This fifth film of the Thin Man series is also the first made without director Woody Van Dyke who committed suicide when he was diagnosed with terminal cancer. One of MGM's able studio directors, Richard Thorpe, pinch hit admirably for Van Dyke.

Funniest scene in the film is when Powell ditches Loy onto a jitterbugging sailor while he investigates. Worth it to see that alone.

It's 1945, the trains are packed with people, Asta doesn't remain hidden under Nora's fur coat so Nick, Nora and Asta end up in the baggage car as they travel to Nick's home town. And Nick is drinking only cider - his father never approved of drink. Thus begins, "The Thin Man Goes Home," made as the war was ending and a lot of people whose lives had changed were thinking about going home.

Nick, it turns out, has an uneasy relationship with his doctor dad because he himself never became a doctor. When the inevitable mystery arises around a murder, Nora wants Nick to solve it to impress his dad.

The fact is, the scripts of "The Thin Man" series never mattered. It was always the acting and interaction of William Powell and Myrna Loy, and here, as usual, they're great - loving, flippant, and funny. Since Nick is always falling on the floor or getting hit on the head, it's hard for anyone to believe he's sober. At a charity dance, in order to do some investigating, he gives his dance tickets to a sailor and Nora becomes his partner. The dance scene is hilarious as the sailor tosses Nora all over the place and swings her around with the kind of maneuvers you see in pair figure skating.

The war is still on so the story involves espionage. A very young Gloria de Haven does nicely as a self-consciously over-dramatic young woman; Harry Davenport and Lucile Watson are great as Nick's parents; and the later blacklisted Anne Revere does a fine job as Crazy Mary.

William Powell could read the phone book with class and humor; Loy looks beautiful and their teamwork has never been better. Highly recommended.

This entry in the "Thin Man" series is enjoyable in itself, and it also works well as a change-of-pace from the rest of the series, in placing the familiar Nick and Nora characters in a new setting, when Nick returns to his old home town. It makes for a much different atmosphere, since Nick is received quite differently at home than he is in the big city where his crime-solving skills are so renowned.

Some things, of course, are still the same. William Powell is as witty and elegant as always, Myrna Loy is as engaging and as charming as ever, and the mystery that crops up is interesting and enjoyable. The screenplay does a nice job of keeping the best elements of the series while placing Nick in some new situations. The Powell/Loy characterizations of Nick and Nora are so good that when you see them in a somewhat new setting like this, you take an interest in them as you would old friends.

Harry Davenport heads up a very good supporting cast, and he gives one of his many fine character performances as Nick's father. The relationship is quite believable, and it's easy to empathize with Nick in his inability to please his father.

For all that this is a lesser-known movie in the "Thin Man" collection, it is quite good. The mystery itself is set up cleverly and efficiently, and it has the same combination of the offbeat and the logical that you hope for in these features. It's well worth seeking out for anyone who enjoys the "Thin Man" films.

Everybody has at least one skeleton in their closet, and Nick Charles is the man who can bring them out into the daylight. The fifth film in the excellent 'Thin Man' series sees our favourite married detectives, Nick and Nora Charles (William Powell and Myrna Loy), visiting Nick's parents in the small town of Sycamore Springs, a sleepy locale where everybody knows everybody and crime is practically non-existent… or so they thought! The famous detective's arrival is greeted with a wave of controversy, despite his own insistence that the visit is merely a quiet vacation. With everybody under the impression that Nick is investigating an important case, long-forgotten skeletons begin to emerge from their hiding-places, a young artist is shot dead on the doorstep and an ordinary-looking painting of a windmill becomes a vital clue in identifying his murderer.

'The Thin Man Goes Home' was the first film in the series not directed by W.S. Van Dyke, after he committed suicide in February 1943. Nonetheless, Richard Thorpe does a good job of recreating the mystery and good humour of the previous instalments, working off a script from Robert Riskin, Harry Kurnitz and Dwight Taylor. There are also a few notable adjustments to the usual formula: the action takes place in a small town rather than the city, and Nick Charles has gone completely teetotal {no doubt a consequence of the WWII liquor rationing}. Aside from obviously solving the mystery and apprehending the killer, the film has another important sub-plot concerning Nick and his disapproving father. Nora makes it her goal to convince Dr. Charles (Harry Davenport) that his son is, indeed, a detective genius, and fuels the rumours – in a not-so-subtle fashion – that he is here on a case. However, his father won't believe that Nick has gone off drinking, and various unfortunate moments of bad-timing do little to prove him otherwise.

Of course, the main reason we watch 'The Thin Man' movies is to enjoy the witty banter and playful rivalry between husband and wife, and a lot of it is still here, even if it takes a back-seat to the murder mystery itself. Just like the audience, Nora believes that she understands Nick's mystery-solving tactics to the letter, and she enthusiastically narrates his technique to the attentive Dr. Charles, occasionally tossing in her own opinion of the identity of the killer. Of course, she's almost always wrong. This mystery is a muddled affair, with seemingly everyone guilty for at least something, but it's the killer's name that proves a real surprise.

The penultimate Thin Man movie has Nick & Nora visiting Nick's parents when, of course, a murder is committed. This one gives us a look at Nick's background, including that he grew up in a very MGM small town and that his doctor father is disappointed that Nick didn't follow in his footsteps. As the story progresses, the father learns to appreciate what a great detective Nick is. There's also a WWII spy angle and a recurring joke about Nick's newfound sobriety.

William Powell and Myrna Loy are great as ever with that fun chemistry we all love so much. One of my favorite Myrna Loy scenes in the entire series is the one here where she tells Nick's father about the Stinky Davis case. It's hilarious! Nick, Jr. is absent from this one but Asta is still around, albeit played by a different dog this time. The great supporting cast includes Lucille Watson, Harry Davenport, Lloyd Corrigan, Donald MacBride, Leon Ames, Edward Brophy, Helen Vinson, Donald Meek, Morris Ankrum, and a scenery-chewing Gloria DeHaven ("Just call me...Laurabelle."). It's the first Thin Man film not directed by Woody Van Dyke, who died in 1943. Perhaps that's why the movie has a different feel to it than prior entries in the series, although I'm sure we can most probably chalk it up to the changing times and tastes. More than a decade had passed since the first Thin Man film, after all. Still, it's an enjoyable movie that most fans of the series will love. It's hard to miss with Powell and Loy.

This film is hilarious! Powell and Loy's chemistry just doesn't let up, even after four sequels. I've now seen three of these films (The first, third and fifth), and the quality is as high as ever. I liked this one better than the third (Another Thin Man), though it's not quite as good as the first (The Thin Man).

The humour is excellent. These films wouldn't be half as good without the oft-subtle, always hilarious dialogue rampant throughout. And Powell and Loy are always perfect, they never miss a beat. One of the problems I had with the third one was that it felt forced, the humour just wasn't top-notch. But it's full-force here, nearly at the level of the first one. As well, the story is much more interesting than the third one, and almost at the level of the first. The first one had the spark, the originality, that won't ever be reproduced. But this script is sharp (although I really missed all of the great drinking jokes;), and it didn't (thankfully) have the brat of a baby;) And Asta is as cute as ever, what more could I ask for??

It's not perfect, it's not as good as the first. But it's up there! Another definite must-see; I'd recommend these films to all, an eternal classic!! 8/10.

Generally the Fourth Sequel to nearly anything would be considered Garbage and You'd think that the Producers had milked the cash cow once too often...BUT 'The Thin Man goes home' the Fourth Sequel and penultimate Film in the Enjoyable MGM Series which ran from 1934-1947 is FAR better than you could really hope for.

Nick (William Powell) & Nora (Myrna Loy) catch a Train to see Nick's Parents merely for a Vacation, but everybody in the Small town are led to believe that Nick is on a Case... He Isn't...Well, Not until a Young man drops dead on his Parents doorstep from a Gunshot Wound -

'The Thin Man goes home' despite being 65 Years old now, doesn't feel anywhere near as dated as many other Films from the Era, There is plenty of Witty lines that are still Funny today and the Sparkling Chemistry between Powell & Loy is a joy to watch.

***1/2 out of *****

Nick & Nora Charles (William Powell, Myrna Loy) decide to go back to Nick's home town and visit his parents. It had been some time since the Charles family had been back to see Nick's parents, as relations between Nick and his father had been strained. We are introduced to a wide cast of characters in the small town and, as this took place in World War II, the themes of "wartime work" and "wartime security" became watchwords. As with any situation with "security", mysterious happenings soon take over, and a man is killed in front of the Charles house as he comes to Nick for help. In typical disavowal of taking on the case - preferring to leave the investigating to the local police - Nick finds himself getting more and more involved, as does Nora, both more by choice than by events. In the end, in the usual showdown of all potential subjects to the murders (there are others as the story develops), Nick uses his disarming wit and pointed questions to find the murders and traitors involved with wartime intrigue at the local manufacturing plant. This movie is quite entertaining, perhaps not as top-notch as other "Thin Man" movies, but very close, and in the process of solving the crime there is always the delightful word play and verbal sparring between the movies two stars, Powell and Loy. Watching them work together on the screen is a delight, as always.

This film was released in January 1945, and the "home by Christmas" hope had not been fulfilled in regard to the end of World War Two in the European Theatre of Operations. Victory in the Pacific was still further away. Yet, that the war would end soon was a common expectation. Therein lies the attraction of this movie, especially noticeable in what one might consider "light" propaganda. To comment on the war was almost an obligation, to do so in the face of certain victory was almost a formality. Nick Charles is in his home town investigating espionage, and his wife Nora wants to help. Can they collaborate and solve the mystery? William Powell as Nick is typically flip and egotistical. Myrna Loy as Nora is delightful. How these two manage do so well is their sophisticated comedies is one of the pleasures of their film partnership. Even some of the stock lines sound funny, and even some of the weak plots can be overlooked. Their acting seems always to the point and the scripts keep one guessing. Near the end of a dreary war, their humor provided a touch of civility to a maddened world.

Hands down, the best mystery and BIGGEST surprise ending in the series. The jokes and repartee are first class, lots of excellent supporting roles and by keeping a tight rein on the 'Thin Man Formula' it keeps everything fresh. You've got just enough drinking jokes (Nick's on the wagon because they're visiting his folks) but the scenes when his dad thinks he's drunk make up for it. Mercifully, they left Nick, Jr. at home - family stuff hurts the chemistry of Nick and Nora more than anything. Also,there is exactly the right amount of Asta. And of course, as everyone suspects, Asta is their 'real' child.

Not as many rough characters interacting with Nick in this one, but Nora herself inadvertently lapsing into criminal lingo as she tells the story about 'Stinky Davis' to her staid in-laws is even better! Also, you got the wonderful Edward Brophy, who specialized in comic gangster roles, posing as as the most improbable of 'greeting card salesmen' - his 'made up shop talk' is hilarious. And the great Anne Revere (later black-listed) acts to the hilt in a small but juicy dramatic role - you'd swear that 'Red Annie' was doing Brecht! I dare you to find one minute of Anne Revere on screen in ANY film in which she was not TOTALLY mesmerizing.

Director Thorpe was not quite 'One-Shot Van Dine' the best Thin Man director but he seldom puts his foot wrong. Boring camera placements and indifferent staging if you care about that, but when your listening to Nick and Nora sparring you don't really notice.

If a Thin Man movie is on, it's always watchable. What gets me is that in movies these days if the plot runs thin, the director warms up some pixels and amps up the special effects.

Back in the day, when the plot got thin, there weren't a lot of optical effects, so the director leaned on the writer and actors and got great dialogue and snappy acting.

This Thin Man has a plot as thin as a 1940's projection screen. As long as Nick, Nora, and Asta, and the supporting cast is up for the fun and mayhem, though, plot doesn't seem to matter so much.

I thought the last reel dragged on in comparison to the rest of the film, but there are some great scenes and snappy jokes throughout the film.

And where do sailors learn to dance like that?!?

This is the fifth in the "Thin Man series" and some of the magic is beginning to fade. Nick(William Powell) and Nora(Myrna Loy)Charles decide to vacation in Nick's small home town. Sipping cider is interrupted when Nora buys a painting that in turn gets Nick involved in a murder mystery against his disapproving parents wishes. My favorite scene is when Nora not so innocently starts a bar room brawl. Story line meanders a bit and is not as energetic as the previous installments; but still a fun movie to watch. The team of Powell and Loy still have "it". A great supporting cast features:Lucille Watson, Edward Brophy, Gloria DeHaven, Harry Davenport and Lloyd Corrigan. Interest in the husband and wife sleuths continues.

All the Thin Man films are great to watch, but this is one with which I find a bit easier to identify. Riskin, the writer of this film and long time scriptwriter for Frank Capra, was also the guy who wrote "It Happened One Night" and "Meet John Doe". This New York City born writer's attraction to average Joe small town values over Cosmopolitan glitz and decadence obvious in those two films is plain to see here. This is probably the image a lot of successful urbanites had about moving to the suburbs after WW2.

This is sort of an odd bird among Thin Man films in a couple of ways. First of all, Nick is astonishingly sober for a change. Don't look for any of those scenes of Nick and Nora trying to drink each other the table at some New York nightclub in this one. In fact, the nightclubs and high rises are totally gone as Nick takes Nora the glamorous New York socialite back for a visit to Nick's hometown, which bears a fairly strong likeness to Andy Hardy's. Nick's father is a retired M.D. not unlike the ones in the Norman Rockwell paintings. He wanted Nick to follow in his footsteps as a small town doctor instead of becoming a big city policeman and this is the first time the two of them have gotten together in years. This father-son reconciliation is the explanation for Nick's sudden uncharacteristic attraction to a sober, healthy lifestyle.

Nick's father is actually fairly proud of Nick and keeps a scrapbook about all his adventures. The whole town knows about Nick Charles the famous Detective. I sort of see invisible images of G.I.s returning home from WW2 in a lot of this movie. Nick's celebrity as a tough, smart local boy who went off to bring gun toting gangsters to justice in the big city of aristocratic sophisticates and Broadway nights is not very far removed from how most Americans probably saw the guys who went off to liberate Paris and Europe in WW2. Nora fits into that picture as a sort of "Mrs. Miniver" figure of what American's admired about European sophication brought back home to meet the folks.

The homecoming hero vision of Nick peacefully turning into a happy coach potato in a post war suburbia however is not what we want to see. What everybody loves about the Thin Man films is their contrary to Hollywood stereotype revelation that life after marriage can actually be exciting. Nora decides to get Nick off the coach with an "I Love Lucy" sort of plot twist that spreads a rumor around town that Nick is secretly working on a detective case. The result of course is that all the various local characters with small town secrets to hide think he's after them and all the mystery murders and skeletons start coming out of the closet like we've all been waiting to see. Nick and Nora are such a fun couple, aren't they?

This is a very pleasant entry into "The Thin Man" series. I found it much less aggravating than the other stories simply because of the drinking and smoking factor.

Unbelievably, William Powell and Myrna Loy don't have a drop of alcohol to drink in the entire film, which is a refreshing change of pace. Hey, don't get me wrong - I love my beer, but I get tired of seeing these two think that alcohol is the answer to every situation. That gets old and stupid.

In this film it's just "Nick" and "Nora" solving a crime on their own and then - in Charlie Chan-type style - rounding up all the suspects in one room and exposing the criminal while explaining the case.

Generally, it's a fun movie with interesting characters. Don't look for a lot of action but you'll get a lot of laughs.

It may be a little less exciting than other Thin Man movies, but it has a nice, tightly-wound mystery and some great comedy. I thought this one had a stronger plot than others of this series. I only wish Loy had a more significant presence - her verbal sparring with Powell is terrific fun. There should have been much more of it.

Here we've got a complete change of atmosphere for our city-dwellers Nick and Nora: they travel to Nick's small hometown to see his parents after a long time. And since Nick knows how much his father disapproves of his excessive drinking, he's gone on a 'diet' of... apple cider! But Father also disapproves of something else: that Nick didn't become a doctor like himself, but just a 'cop'... And yet that's exactly what's made him famous in his town: the many difficult murder cases he's solved in the city. And so everybody thinks, as soon as he turns up in the sleepy hole, that he must be here 'on business'... But while he's trying to persuade everyone that he's just on holiday - he DOES get his 'business': a young man is shot right in front of the door of his parents' house!

So, whether he wants to or not, he helps investigating (since the country cops are even dumber than those in the city...); and he uncovers not only a whole number of well-kept family secrets, but - with a painting that Nora buys him for his birthday and that seems strangely coveted by some people as evidence - finally a big case of industrial espionage! And as for the identity of the actual murderer: here he makes his father proud at last with his knowledge of forensic medicine...

Now, it depends on the point of view: you could call the environment in this movie either unusual or unsuitable for Nick and Nora. Anyway, let's see it from the positive side: William Powell and Myrna Loy are once again in great shape and in the mood for cheeky jokes (Nickie Jr. was left at home this time, so there aren't any parents' issues), Anne Revere gives a great performance as 'Crazy Mary' and Donald Meek as the nutty art dealer and Edward Brophy (who had played 'Morelli' in the original first "Thin Man" movie) as the chatty salesman provide good fun entertainment, and the plot is really quite clever and full of surprises.

Still, you can feel the atmosphere changing and drifting further away from the first 'Thin Man' movies; so, for fans of Nick and Nora (as we knew them from the 30s) this one might be a slight disappointment - but as a crime comedy on the whole it's certainly solid, well-made entertainment!

Nick and Nora visit Nick's home and parents. Nothing happens but light fluff for two long then a murder happens and the detective work takes off. But, by then I'm already restless and losing interest. Things happen, and there's some comedy, then ultimately the suspects are convened and Nick does his long explanation of what's happened, and then the murderer is revealed. What I don't like is the long time in getting the mystery going, I didn't feel drawn into the mystery, and Nora is mostly window-dressing kept out of harm's (and story's) way by Nick. Still, fun stuff, Nick and Nora were charming, slbeit often separately, and it's good fun ID'ing and enjoying various Hollywood character actors. Just not a compelling story line that pulls me in, so 9ne of the weaker entries in the series.

With entry 5/6 it was a more conventional series, more mature and sedate than the sophisticated romp of 10 years previous. But still good clean fun, even with the Ed Brophy in the bushes gag!

Nick and Nora vacate to Nick's parents home in in quiet Hicksville, but find it suddenly bristling with murder, base intrigues and seedy bars. The plot's easier to follow than before, but that doesn't make it less entertaining: Based on the data collected whilst watching the first four films I deduced who the murderer was straight off (but not the real baddies) - but it was still wonderful to take part in the denouement. Character actors from the Falcon and Boston Blackie fill the screen, and even Donald MacBride appears as yes, a detective. Asta followed Nick closely throughout, Junior was left at school for the sake of all the viewers, however Nora was given a few out of character padding sequences. Favourite bit: At a dance Nora getting whisked into a prolonged hep jive with a sailor much to Nick's transfixed amazement.

So well worth watching for those of us who are looking for olde time production-line family entertainment and not High Art.

In a far more interesting premise than the usual Thin Man movies, this sixth installment is probably my favorite. William Powell and Myrna Loy return to his hometown to celebrate his birthday. They're strictly on vacation and not interested in solving any murder cases. Bill's parents are played by Lucile Watson and the disapproving Harry Davenport. Harry has never been proud of his son, and Myrna thinks if he shows his intelligence by solving a crime, it'll mend the father-son rift. Myrna gets annoyed by his apathetic attitude after she repeatedly tries to get him involved in cracking a murder case. "Something has got to be done!" she exclaims, and when he wraps his arms around her, she slaps him away. "Not that." Bill throws up his hands. "Not even on my birthday?" The Charleses are just adorable, and even when he placates her or she goes behind his back, they still have great banter and lots of love. In another cute scene, Myrna sees Bill in a sweatsuit relaxing on a hammock outside and as she struggles to put together a folding chair so she can sit beside him, he halfheartedly offers to help. "Oh no," she says flatly. "You might get all sweaty and die."

In the supporting cast, you'll see lots of familiar faces, each with their own unique character who adds quirk to the small town. Leon Ames and his wife Helen Vinson are crooks trying to get their hands on a painting with a secret, Donald Meek is an overwhelmed art gallery owner, Anne Revere plays the strange loner "Crazy Mary", Glora deHaven is a dramatic student with flair, and Edward Brophy is a former crook turned devoted sidekick. If you're going to watch only one of the Thin Man movies, I'd recommend this one. Only devoted fans will enjoy the entire series.

THE THIN MAN GOES HOME (Metro-Goldwyn-Mayer, 1944), directed by Richard Thorpe, returns William Powell to his popular role of Nick Charles, with Myrna Loy back on screen for the first time since the last installment of SHADOW OF THE THIN MAN (1941). Unlike other screen detectives in series films of "Charlie Chan," "Sherlock Holmes" or "Boston Blackie" having two or three theatrical releases a year, "The Thin Man" has a rare distinction, next to the MGM Tarzan series of the 1930s and 40s, to come up with a new installment once every two to three years. For this fifth of six entries, the original screenplay by Robert Riskin and Dwight Taylor attempts in following the basic pattern more on the initial films, THE THIN MAN (1934) and AFTER THE THIN MAN (1936) by emphasizing more situations on Nick and Nora as opposed to ANOTHER THIN MAN (1939) and SHADOW (1941) where time-out for parenting takes place in between comedic antics and crime solving. With Nick Jr. being "away in school" this time around, Nick, Nora and their dog, Asta, become the center of attention again, sharing their scenes with newly developed characters, namely Nick's parents.

The story gets underway where Nick and Nora (William Powell and Myrna Loy) at Grand Central Station getting train tickets from New York to Sycamore Springs where they plan to vacation with Nick's parents, whom he hasn't seen in years. Situations arise when coping with both overcrowded station and train while attempting to sneak their Scottish terrier, Asta, on board where at one point, pass the dog off as a baby. Once at the home of Nick's parents, Doctor and Mrs. Bertram Charles (Harry Davenport and Lucile Watson), their vacation of peace and quiet turns to crime solving when Peter Berton (Ralph Brooks), a landscape painter, is suddenly shot and killed by a silencer on the doorstep of Dr. Charles. With Nick's birthday approaching, Nora buys a painting of a windmill from Willie Crump (Donald Meek), who originally promised it to Edgar and Helena Draque (Leon Ames and Helen Vinson). Because the painting holds an important clue to the mystery, Draque follows Nora hoping to buy it from her while Nora follows Nick's friend, Brogan (Edward Brophy), a traveling greeting card salesman, whom she suspects to be the killer. Going on with his sleuthing, much to the dismay of Police Chief MacGregor (Donald MacBride), Nick stumbles upon another murder, that of "Crazy Mary" (Anne Revere), a town character living in a shack, who may have some connection with Peter Burton. By gathering prominent citizens for questioning, including Laura Ronson (Gloria DeHaven), a society girl; Sam Bronson (Minor Watson), her father; Doctor Bruce Clayworth (Lloyd Corrigan), Nick's former classmate; Willoughby (Morris Ankrum), Nick risks his father's chances of receiving financial support for a new hospital, causing more complications between father and son. With some more mystery to uncover, it appears Nick and Nora don't get to see much of Sycamore Springs.

While there was never any mention about Nick's parents and his background, much of it is brought out in this installment. It's revealed that Nick's father has always wanted him to become a doctor like himself, not his true profession of a "policeman." Nick, usually having a passion for liquor, has "reformed" by drinking only cider. His deductions in crime solving still rank high as in previous installments, and is no disappointment here. The performance of Nora, on the other hand, is slightly altered from fun-loving sophisticate to silly spouse. Her demonstration and re-enactment on Nick's previous cases to her in-laws doesn't come off as funny as it deserved to be. One scene where Nick paddles Nora on her behind with a folded newspaper may seem out of character, but the use of assortment oddball characters as "Crazy Mary," Brogan and Hilda (hilariously played by Anita Bolster), the housekeeper, is a welcome traditional trait for this series.

With more comedy inserted into the mystery than before, some slapstick was thrown in for good measure, ranging from Nick's pratfall at while trying to keep Asta from running loose at the train station, to Nora unwittingly becoming part of a wild jitterbug dance with a young sailor at a nightclub. As mentioned earlier, there's no Nick Jr. in this installment. Had Little Nicky been written in as part of the family vacation, it's a wonder whether Dickie Hall from SHADOW would have resumed his cutesy role, or offered to another boy actor in the Nicky age range of eight as Jackie "Butch" Jenkins could have been a possibility. Overall, the absence of Nicky Jr. did help keep the story on a balanced level. Still quite overlong at 100 minutes, THE THIN MAN GOES HOME, though not in the same league as the initial two produced a decade ago, is, for fans of the series, really not so bad.

Distributed to home video in the 1990s and later DVD as part of the "Thin Man" collection a decade later, this and other "Thin Man" mysteries can be seen frequently on Turner Classic Movies cable channel. Next chapter: SONG OF THE THIN MAN (1947). (***)

Nick and Nora take a vacation to Sycamore Springs to visit Nick's parents, his disapproving father (HARRY DAVENPORT) and LUCILLE WATSON. But he can't get away from murder when a plot involving espionage at a local manufacturing plant comes to his attention. Goaded by Nora to prove himself to his father, he decides it's time to forget about the planned vacation and go about the business of solving a crime.

WILLIAM POWELL and MYRNA LOY have more comic moments than usual in this outing, and that's probably a good thing because the mystery is not only rather uninteresting but rather slight. Neverthelss, there are the usual abundant suspects, including GLORIA deHAVEN, LEON AMES, ANNE REVERE (in a quirky role as "Crazy Mary"), HELEN VINSON, DONALD MEEK and LLOYD CORRIGAN.

The material has worn a little thin by this time and this post-war entry had really only one major difference in the storyline--Nick is on the wagon and remains sober to solve the crime. Now that's something that probably shocked viewers of the first few "Thin Man" films.