The film starts off on a very high note indeed. Imagine a film in that day and age having a description of an authentic forensic science, the important investigative tool known as “Flow Mechanics”. This is the study of the way liquids splash or spread. In particular, blood spots and splatter, as Charlie so ably illustrates. It just gets better as that very same tool helps to prove that a murder has been committed. This entry in the series is a very smart move as it is one of those that offers the alternative of an interesting place or profession as opposed to a far away exotic country. With this variety the formula does not ever have to grow predictable or stale with so many more settings to choose from. Of course there is a guy with the absolutely ridiculous name of “Slipstream”, but if you ignore this totally unnecessary character you will notice # 1 son Lee not only providing important comic relief, but also very valuable assistance. In this role, Keye Luke is exceptional. Take note his broken English while in disguise as the cabin boy, not to mention his dashing style as a thoroughly American lad complete with cocked fedora. Why he is so eager and willing to help solve this case he’s got extra clues at the conclusion his famous pop doesn’t even need. And lets not forget Charlie’s forthright aggressive actions in this one. Not only does he use quick thinking to escape from the kidnappers he uses a quick right to kayo a guard and switch Avalanche and Gallant Lad. Yes, Charlie Chan is a man not only agile in mind, but in body as well. This excellent effort is praiseworthy for it’s dialog and delivery, action and brisk pace, but also for it’s clear and liner progression. From the very beginning you are brought along. You understand the reason for Charlie’s involvement. You see the movement of the investigation, are ready for the climax and made eager for the next installment in the series.

One thing that's always fascinated me with the Chan films is the evolving technology on display - from the "tetrogene" in "Murder Over New York" to the "first generation 'fax' machine" (pictures by wire on two synchronized machines on different coasts) in "At The Opera" (?) to the music "repeater" and use of UV light in 1936's "Secret" (the underwater filming in the beginning of that film is in itself somewhat of a technological marvel for the time) and so on.

Not to mention Charlie taking the "Hindenburg" on the last leg of his trip to see #1 in the 1936 Olympics.....