Nick and Nora Charles shouldn't have worked. Seriously. When W.S. Van Dyke decided to adapt Dashiell Hammett’s hard-boiled novel into a movie, the "powers that be" at MGM weren't sold. They thought William Powell was too old and Myrna Loy was a "heavy" dramatic actress who couldn't do comedy.
They were wrong.
The result was The Thin Man films, a six-movie franchise that basically invented the "sophisticated married couple" trope. Before 1934, married couples in movies were usually boring, bickering, or tragic. Nick and Nora were something else. They were rich, they were constantly tipsy, and they clearly, genuinely liked each other. That was the revolution.
The Drink, the Dog, and the Detective
The first film, released in 1934, was shot in about two weeks. Two weeks! Van Dyke was known as "One Take Woody" because he hated wasting time. You can actually feel that energy on screen. It’s loose. It’s fast. It’s messy in a way that modern big-budget movies never are.
Most people think the "Thin Man" is Nick Charles. It's not. In the original mystery, the "Thin Man" is actually the murder victim, Clyde Wynant. But the title stuck so hard that the studio just used it for every sequel, even though it made zero sense. By the third movie, nobody cared about the logic; they just wanted to see what Nora was wearing and what Nick was pouring into a shaker.
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Let's talk about the martini. It’s the third lead character. Nick Charles, a retired detective who married into massive wealth, spends a significant portion of the franchise teaching bartenders how to shake drinks to a specific rhythm. "A Manhattan you shake to a fox-trot, a Bronx to a two-step, but a dry martini you always shake to a waltz." It’s a great line. It’s also terrible cocktail advice, but that’s beside the point.
Then there’s Asta. The Wire-Haired Fox Terrier. Asta was a superstar. He earned $125 a week, which, in the 1930s, was more than most human background actors. The dog was so popular that he sparked a massive surge in Fox Terrier ownership across America. But here's a bit of trivia: the dog’s real name was Skippy, and he didn't actually like the actors that much. He was a professional. He did his job, took his treats, and moved on.
Why the Sequel Formula Actually Worked
Most franchises fall off a cliff after the first sequel. The Thin Man films managed to stay relevant through at least the first four before the wheels started to wobble.
- After the Thin Man (1936): This is arguably as good as the first. It picks up right where the first left off. James Stewart is in it! He’s young, lanky, and playing a role that is very much not the "George Bailey" type we’re used to.
- Another Thin Man (1939): They added a baby. Usually, adding a kid is the "jump the shark" moment for a series. But Nick Jr. didn't ruin the vibe because Nick and Nora didn't suddenly become "responsible" parents. They just brought the baby along to the nightclubs.
- Shadow of the Thin Man (1941): This one takes place at a racetrack. It’s solid, but you start to see the formula hardening.
- The Thin Man Goes Home (1944): This is the outlier. No drinking! Because of wartime restrictions and a shift in public "morality," the heavy boozing was toned down. Nick drinks cider. It feels... weird.
- Song of the Thin Man (1947): The finale. It’s jazz-themed. It’s okay, but by this point, the spark was fading.
The magic was always the dialogue. Frances Goodrich and Albert Hackett, the screenwriting duo, understood that the mystery was just a clothesline to hang the banter on. Honestly, the plots are often incredibly confusing. If you try to follow the clues in The Thin Man Goes Home or Another Thin Man, you’ll likely end up with a headache. It doesn’t matter. We aren't there for the forensic evidence. We're there to see Nora walk into a room with five Christmas packages and a dog on a leash and then face-plant into the floor.
The Myrna Loy Factor
Myrna Loy was the "Queen of Hollywood" for a reason. Before Nora Charles, she was stuck playing "Exotic Vamp" roles—usually characters of indeterminate "Eastern" origin with heavy eyeliner. The Thin Man films liberated her. She got to be funny. She got to be the smartest person in the room without being a "femme fatale."
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She and William Powell had this incredible shorthand. They made 14 movies together in total. That kind of screen chemistry isn't something you can direct. It’s just there. Powell once said that Loy was the only woman he could have been happily married to in real life, though they never actually dated. They were just the best of friends.
What’s wild is how modern their relationship feels. Nora isn't a damsel. In the first film, when a gunman breaks into their apartment, Nick punches Nora in the jaw to get her out of the line of fire. It sounds violent, but in the context of the scene, she’s actually impressed by his quick thinking. Later, she buys him a gun for Christmas so he can keep "playing" detective. She encourages his chaos.
The Production Reality
It wasn't all cocktails and silk pajamas behind the scenes. William Powell was struggling with the death of Jean Harlow, the love of his life, during the production of the later films. He also battled cancer during the series. There are moments in the later entries where he looks visibly exhausted.
Despite this, he never missed a beat with the comedic timing. His "dryness" was his superpower. He could deliver a line about a corpse with the same tone he used to order a steak.
The cinematography also deserves a shout-out. These weren't "B-movies." MGM threw real money at them. James Wong Howe, one of the greatest cinematographers in history, worked on After the Thin Man. You can see it in the lighting—the way the shadows hit the cocktail glasses and the crispness of Nora’s evening gowns. It’s "High Gloss" Hollywood at its peak.
Why You Should Care Now
We live in an era of "gritty" reboots and "dark" detectives. Everyone is traumatized. Everyone has a "dark past." Nick Charles has a dark past, too—he’s a former cop who’s seen the worst of humanity—but he chooses to meet it with a joke and a highball glass.
There is a lightness of spirit in The Thin Man films that is almost entirely missing from modern entertainment. It’s sophisticated without being snobbish. It’s romantic without being mushy.
People often ask where to start. Obviously, start with the 1934 original. But don't just watch it for the "Who-Dun-It." Watch it for the way they talk over each other. Watch the way Nora reacts to Nick's hangover.
Actionable Steps for the Classic Film Newbie
If you’re diving into this world for the first time, don't treat it like a homework assignment.
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- Skip the "Gilded Age" mentality: Don't worry about the 1930s social etiquette. These characters are rebels. Treat them like you’re watching a modern sitcom that just happens to be in black and white.
- Focus on the reaction shots: Myrna Loy is the master of the "side-eye." Half the comedy in these films happens when she isn't even speaking.
- Watch for the cameos: Because these were MGM "prestige" shorts, you’ll see faces like Jimmy Stewart, Donna Reed, and even a very young Dean Stockwell.
- Listen to the score: The music in the jazz-themed Song of the Thin Man is actually a fascinating look at the late 40s bebop scene, even if the movie itself is a bit tired.
- Host a viewing party: These films were meant to be watched with a crowd—or at least a drink. Make a "Nick Charles" martini (waltz-time shake only) and enjoy the ride.
The legacy of Nick and Nora lives on in shows like Moonlighting, Castle, and even The Thin Man influences in the MCU (look at the banter between Tony Stark and Pepper Potts). But nothing beats the original. The crackle of the script, the barking of Asta, and the clinking of ice cubes are a perfect time capsule of a Hollywood that knew how to have fun.
To truly appreciate the craft, pay attention to the dinner party scene in the first film. Nick gathers all the suspects in one room—a classic trope. But he’s eating. He’s served a full meal while he’s accusing people of murder. It’s that blend of the mundane and the macabre that makes the series legendary.
Start with the first two movies. They represent the gold standard of the series. If you're hooked after the San Francisco mystery in the second film, then commit to the full box set. Just be prepared for the fact that after watching these, every other screen couple is going to seem a little bit boring.
Next Steps for Enthusiasts:
- Read the Source Material: Pick up Dashiell Hammett’s original The Thin Man novel. It’s much darker and grittier than the movies, providing a fascinating look at how MGM "cleaned up" the story for the masses.
- Explore the "Screwball" Genre: If the banter is what you loved, move on to My Man Godfrey (also starring William Powell) or The Awful Truth.
- Track the Fashion: Look up the work of Orry-Kelly and Dolly Tree, the costume designers who turned Myrna Loy into a fashion icon of the 1930s. Their work on these films influenced American department store trends for a decade.