The Cinema Murder by E. Phillips Oppenheim

Less thrilling than typical Oppenheim fare

British author E. Phillips Oppenheim was one of English popular literature’s bestselling novelists of the early 20th century. He cranked out over a hundred thrillers about espionage, murder, and international intrigue. Dozens of his books were adapted into films, and his stories and characters often call to mind suspense films of the early talkie era, such as the early works of director Alfred Hitchcock. Oppenheim’s novel The Cinema Murder was published in 1917 and adapted into a silent movie in 1919. The book has also been published under the title The Other Romilly.

Philip Romilly, a poor English art teacher, goes to visit his sweetheart Beatrice at her home in the dreary hamlet of Detton Magna. To his surprise, he finds evidence that she has taken up with his wealthier cousin Douglas Romilly, who owns a shoe factory. Beatrice admits her defection to another man, insisting she is sick of poverty, and she chastises Philip for his lack of prospects and ambition. Soon after this incident (in chapter 2, so not really a spoiler), it is revealed that the jilted Philip has murdered Douglas, assumed his identity, and fled on a steamer to the United States. Having absconded with some of his dead cousin’s money, Philip hopes to start a new life in New York and pursue a career as a writer. During the transatlantic passage, he meets Elizabeth Dalstan, a famous American actress. With incredible hastiness, he confesses his crime to her, but she has no problem falling in love with a murderer. Can the two pursue a future together in America, or will Philip’s past catch up with him?

This can’t be called a murder mystery, since the identity of the killer is revealed early on. For the most part, it is a love story between Philip and Elizabeth, but of course with obstacles thrown in the way of their happiness. As a result, compared to other Oppenheim novels I’ve read, this one is decidedly low on suspense. There is always the danger that Philip could be arrested for his crime, but Oppenheim is more concerned with establishing a typical love triangle with Elizabeth’s ex-boyfriend. The fact that she is so willing to cozy up to a killer never really rings true. Wouldn’t she be wondering somewhere in the back of her mind if she might be his next victim?

Although The Cinema Murder was published on the eve of the roaring ’20s, it is still hampered by the prudish moral codes of the Victorian Era, which does much to dull the excitement and suspense. It is just assumed, for example, that all the unmarried characters are virgins, despite being at least in their late twenties, so don’t expect any sexual tension. In the respectable popular literature of this time, read by gentlemen and ladies, it must always be shown that crime does not pay, so the reader knows all along that Philip can’t be allowed to get away with his murder. Oppenheim comes up with a cockamamie solution to get around that hard fast rule, but despite its unreality the conclusion is still somewhat predictable. The way that women are depicted in Oppenheim’s novels is frequently annoying. The social conventions of the time make relations between the ladies and gentleman of wealthy, urban society seem like unconsummated prostitution. One refreshing breath of fresh air in The Cinema Murder, however, is the supporting character of Martha Grimes, an independent working woman who won’t stand for any bull or sanction any gentlemanly advances.

The biggest mystery is why this book is titled The Cinema Murder, since it has nothing much to do with a cinema or movies at all. Elizabeth is shown to be acquainted with some producers in the film industry, but in this novel she only acts on the stage. The hero is a playwright of a Broadway play. The Theatre Murder might have made sense, but cinema’s got nothing to do with this.
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