Honestly, by 1947, the "Thin Man" franchise should have been dead. Most movie series lose their steam by the third entry, but here was the sixth—and final—installment featuring the world’s most charming, high-functioning alcoholics. Song of the Thin Man movie represents a weird, fascinating collision of worlds. You’ve got the sophisticated, Art Deco cocktail culture of the 1930s slamming headfirst into the gritty, post-war jazz scene of the late 40s. It’s a bit jarring. It’s definitely darker than the previous films. Yet, somehow, William Powell and Myrna Loy still make it work through sheer, unadulterated chemistry.
If you’ve never seen it, the plot is basically classic Nick and Nora Charles. They're trying to enjoy a quiet life, which inevitably involves a murder on a gambling ship. But the real star here isn't the mystery; it's the atmosphere. This film trades the penthouses for smoke-filled jazz clubs and "reefer" slang.
The Bebop Mystery That Closed an Era
When Metro-Goldwyn-Mayer (MGM) greenlit this, the studio system was changing. Audiences weren't just looking for slapstick and witty banter anymore; they wanted a bit of "noir" in their martini. The Song of the Thin Man movie delivers this by plunging Nick and Nora into the underworld of professional musicians.
The story kicks off when a bandleader named Phil Brant is gunned down. Suddenly, Nick is navigating a world of "cats," "jive," and "square" society types. It’s funny because Nick Charles, usually the coolest guy in any room, looks like a total relic compared to the jazz musicians. Seeing William Powell try to decipher 1940s slang is genuinely hilarious.
The cast is stacked, too. A very young Dean Stockwell plays Nick Jr., and you get a fantastic performance from Keenan Wynn as Clarence "Clinker" Jordan, the hipster guide who helps Nick navigate the jazz scene. Wynn is the MVP here. He brings an energy that keeps the movie from feeling like a stale retread of the 1934 original.
Why the Critics Were Wrong About the "Ending"
At the time, critics felt the series had run its course. They weren't entirely wrong, but they missed the nuance. This wasn't just another sequel; it was a goodbye. Powell was getting older—he was 55 during filming—and the physical comedy was becoming more demanding. You can see it in his eyes; there's a certain tiredness, but it actually adds to the character. Nick Charles feels like a man who has seen too many bodies and drank too many Gibsons.
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Myrna Loy, meanwhile, remains the absolute backbone of the film. Nora Charles was never just a "wife" character. In the Song of the Thin Man movie, she’s still the one pushing the investigation forward, often with more intuition than Nick. Their relationship is the gold standard for on-screen marriages because they actually seem to like each other. No nagging, no sitcom tropes. Just two people who are better together than they are apart.
The Production Reality: Behind the Scenes at MGM
Director Edward Buzzell took over for this final outing. He wasn't W.S. Van Dyke (who directed the first four), and his style is admittedly more workmanlike. But Buzzell understood the shadows. Look at the cinematography by Charles Rosher. It’s 훨씬—wait, scratch that—it is significantly more "low-key" than the bright, airy rooms of the earlier films. The gambling ship, the S.S. Fortune, is a masterpiece of set design. It feels claustrophobic and dangerous.
One thing people forget is that Dashiell Hammett, the creator of the characters, had long since checked out by 1947. The script was handled by Steve Fisher and Nat Perrin. Because they weren't tied to Hammett's original gritty novels, they leaned into the "mumble-jive" culture of the era. It was a gamble. For some fans, it felt like the series was trying too hard to be "hip." For others, it was a breath of fresh air after the somewhat repetitive The Thin Man Goes Home (1944).
The "Asta" Problem
Let’s talk about the dog. Everyone loves Asta. In reality, the original Wire Fox Terrier, Skippy, was long gone by this point. Several different dogs played Asta over the years, and by the time they filmed the Song of the Thin Man movie, the canine antics felt a little forced. There’s a scene where Asta gets "drunk" or acts out, and you can tell the writers were struggling to give the dog something to do. It’s a minor gripe, but for purists, the Asta of 1947 just isn't the Asta of 1934.
Breaking Down the Plot (Without Giving it All Away)
The mystery involves a stolen jade necklace, a disgruntled clarinetist, and a lot of people with motives.
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- Phil Brant (the victim) was a bit of a jerk.
- Janet Thayar (played by Janet Leigh in her film debut!) is the girl caught in the middle.
- Buddy Hollis is the traumatized jazz musician who might have lost his mind—or just his rhythm.
The resolution happens at a classic "gathering of suspects" party. It’s a trope, sure, but the Song of the Thin Man movie executes it with style. Nick uses a psychological trick involving a "stolen" item to flush out the killer. It’s clever, if a bit theatrical.
The film deals with some surprisingly heavy themes for a light comedy-mystery. There’s a subtext of mental illness and the pressures of the music industry. Buddy Hollis, played by Don Taylor, is actually a tragic figure. His breakdown isn't played for laughs, which is a rare bit of sensitivity for a 1940s studio film.
Is It Worth Watching Today?
Absolutely. If you’re a fan of TCM or classic cinema, this is mandatory viewing. It’s not the best in the series—the original The Thin Man and After the Thin Man hold that title—but it’s a dignified exit.
The Song of the Thin Man movie serves as a time capsule. You get to see the transition from the "Greatest Generation" back to a world that was becoming increasingly complex and cynical. Plus, seeing Janet Leigh in her first-ever role is a treat for horror and suspense fans. She’s luminous even here, years before Psycho.
It’s also worth noting the music. Since the movie revolves around jazz, the score is actually quite good. It captures that frantic, improvisational feel of the bebop era without being overwhelming. It makes the movie feel "alive" in a way that many static 1940s mysteries don't.
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The Legacy of Nick and Nora
When the credits roll on this film, it’s the end of an era. Powell and Loy would never play these characters again. They made fourteen movies together in total, but these six were the heart of their partnership. They defined the "sophisticated mystery" genre. Without them, we don't get Hart to Hart, Moonlighting, or even the modern Knives Out sensibility.
How to Get the Most Out of Your Rewatch
If you’re planning to dive back into the Song of the Thin Man movie, do yourself a favor and watch it as part of a marathon. Don't just jump into the sixth one.
- Watch the 1934 original first. You need to see the "high" they started from.
- Pay attention to the background extras. The jazz club scenes are filled with real musicians and people who actually lived that life.
- Check out the fashion. Nora’s hats in this movie are... a choice. They are peak late-40s experimentalism.
- Listen for the slang. "Clinker" Jordan’s dialogue is a goldmine of forgotten American vernacular.
The film is widely available on DVD and often rotates through streaming services like Max or the Criterion Channel. It’s also a staple on Turner Classic Movies.
The biggest takeaway from the Song of the Thin Man movie is that it proves you can evolve a franchise without losing its soul. It kept the booze and the banter but changed the scenery. It’s a fitting swan song for a couple that taught us that marriage could be an adventure—and that any problem can be solved with a witty remark and a very dry martini.
Next Steps for Classic Film Fans:
- Locate the Warner Archive Blu-ray: The restoration of Song of the Thin Man is remarkably crisp compared to the old DVD transfers. It brings out the deep blacks and smoky greys of the jazz club scenes.
- Research the "Jive" Dictionary: Look up the promotional materials MGM released in 1947; they actually distributed a "jive talk" glossary to theaters so audiences could understand what the characters were saying.
- Explore the Janet Leigh Connection: Watch her performance here and then jump to 1958's Touch of Evil to see how her "noir" presence evolved over a decade.