BootDigest Such a frustrating disappointment

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Bumpy Chip It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

dougdoepke Routine whodunit, more complex than most. Seems Sue (Muir) travels to a French village to meet her long lost brother, so that once their identities are confirmed, they'll share a big inheritance. Trouble is people start turning up dead at their hotel, while Sue seemingly overcomes physics by appearing in more than one place at the same time. So what's going on.Unlike the Hollywood custom of the day, there's no amateur sleuth operating here. Instead guest Sundean (Cortez) stumbles around along with the French cops. Reviewer GManfred is right: the narrative lacks suspense. I think it's mainly because there are too many angles at play at the same time. In short, too many subplots detract from needed whodunnit focus. Instead, there's dark Gothic atmosphere, along with a single wind recording that blows throughout. Anyway, Muir looks pretty, Donnelly acts ditzy, while the Cockatoo qualifies for SAG membership. But anything memorable, it's not.

GManfred Wind whistles throughout this picture from start to finish, presumably to bring some much-needed atmosphere and an aura of mystery to a pedestrian WB second feature set in an empty seaside hotel on the French coast; see other reviewers for a plot summary. It gets off to a good start but falters halfway through and becomes a potboiler-style drama, relying shamelessly on contrivance before stumbling to a questionable conclusion."The White Cockatoo" features an attractive cast, though, and stars genial, good-natured Ricardo Cortez (he of the sunny disposition), and lovely Jean Muir. On hand also are Ruth Donnelly as a ditzy schoolteacher, as well as Addison Richards, Minna Gombell and Walter Kingsford. The cockatoo in question is hardly noticeable, which makes you wonder why it's used in the picture's title. The main takeaway is the lack of suspense and tension, which detracts greatly from the overall enjoyment of a picture designed to mystify and frighten.

mark.waltz Some young actresses are just too good to really be film stars, and in the 1930's, such Broadway stars as Helen Hayes, Lynn Fontanne, Judith Anderson and Tallulah Bankhead made an attempt to move to the big screen with limited success. One of the less remembered of these names was a Warner Brothers contract player named Jean Muir, and for several years in the 1930's, the studio tried to make her a star. As talented as she was, she was never given the right role to really explode her film career, although some of these films are quite enjoyable. An attractive blonde, she certainly wasn't a sexpot like Jean Harlow, nor a clothes horse like Constance Bennett or Miriam Hopkins. She comes closer in looks to the very regal Ann Harding or a young Alice Faye, both actresses of different types who were perfect for one type of part but never given the opportunity to move past the types of roles they were given. Muir, like Harding, appeared in mostly dramas, and for some of them, she often supported such major stars as Ruth Chatterton or Kay Francis, and in most of them was overshadowed by her leading man.In "The White Cockatoo", she is given a standard film heroine role, the alleged heiress to a fortune, here in "The Cat and the Canary" territory as the apparent victim of a scam which leads to several murders. Having been separated from her wealthy father and brother as a child, she has been notified that her brother is on his way to give her a bequest from her recently deceased father, and this leads to the killings. The hotel owner's pet cockatoo may just be the witness to the crime, as guest Ricardo Cortez reveals, pets and children are better judges of character than adults. Minna Gombell and Walter Kingsford are instantly suspicious as the hotel owners, while there's no doubt that the eccentric American guest (Ruth Donnelly) is simply there for much needed comic relief. Muir insists to several witnesses that she is not the woman they spotted in another part of the hotel, and that leads to even more mystery which the local police appear to be too stupid to solve. If only Inspector Clouseau was around, they might actually get something done! Atmospheric and thrilling on a technical level, this still has a familiar ring to it as entertaining as it is, but there's something about those lush Warner Brothers sets and that acerbic dialog that makes for exciting film viewing. The clue club series at Warner Brothers was a mixed bag, but this was a good entry to get the series off the ground.

AnnaBulic The White Cockatoo is a well-paced and well-plotted old dark house mystery starring Ricardo Cortez (very good as usual) and pretty Jean Muir, an all-but-forgotten actress who bore a striking resemblance to Gloria Stuart. Set in a remote French hotel (on the Warner's back lot), and utilizing several authentically French actors in minor roles, the story involves an attempted kidnapping, a stolen inheritance, several impersonations and a couple of murders. Though typical of the second feature crime dramas of the era, it's a much-better-than-average version of that genre and makes for an enjoyable 73 minutes of intrigue, with hidden rooms, stolen papers, long-lost siblings and some genuine surprises. The main attraction here is the strong supporting cast of Warner's stalwarts: Addison Richards, Ruth Donnelly, Minna Gombell (more glamorous than usual), Walter Kingsford, John Eldredge and Gordon Westcott. Oh, and there's also a nice little performance by Poochie, the titular white cockatoo. They all manage to bring some dimension to the characters, a quality which--along with a well-constructed story and better pacing than the average film of this ilk--elevates the picture to what I would call a B+. Highly recommended for fans of the genre.