The Thin Man Goes Home (1945)

The Thin Man Comes Home (1945) is the fifth film in the beloved Thin Man series starring William Powell and Myrna Loy as the suave, quick-witted husband-and-wife detective duo, Nick and Nora Charles. Released by MGM during the final years of World War II, this entry diverges slightly from the glamorous, urban settings of earlier films by taking the Charleses to Nick’s hometown for a rare domestic twist on the established formula.

While not as sparkling or tightly constructed as the first entries in the series, The Thin Man Comes Home is a pleasant, cozy mystery that retains the breezy charm of its iconic leads. It offers fans a chance to see the dynamic duo in a new setting, interacting with Nick’s family, local eccentrics, and a small-town murder mystery that is more quaint than sensational. This chapter is more subdued and nostalgic in tone but still delivers plenty of laughs and clever detective work.

Plot Summary

The film opens with Nick and Nora Charles boarding a train to Nick’s hometown of Sycamore Springs, ostensibly for a quiet visit with his parents. Nick’s father, Dr. Bertram Charles (Harry Davenport), a stern and highly respected physician, disapproves of Nick’s career as a detective and sees it as unworthy of the family name. Nick, therefore, intends to make the trip purely personal—no crime-solving, no murders, no martinis.

Naturally, that plan doesn’t last long.

Upon arrival, the sleepy town is quickly stirred when Nick’s old friend and local eccentric, Peter Berton (Edward Brophy), is found murdered after attempting to share a mysterious package with Nick. The murder launches Nick into an impromptu investigation that entangles a number of townsfolk, including a jittery wife (Anne Revere), a secretive aviator (Leon Ames), a neurotic hotel manager, and several other suspicious characters.

With Nora eagerly encouraging her husband’s sleuthing instincts and young Gloria DeHaven playing the daughter of one of the suspects, the story unfolds with a mixture of light comedy and puzzling developments. Ultimately, Nick unravels the truth behind the murder, proves his worth to his skeptical father, and once again restores justice with his signature blend of charm and deduction.

William Powell and Myrna Loy: Enduring Chemistry

By 1945, William Powell and Myrna Loy had become one of Hollywood’s most iconic screen pairings, and their chemistry in The Thin Man Comes Home is as effortless as ever. Powell’s Nick remains the epitome of urbane wit and understated brilliance, even when forced to trade in his usual tuxedo and cocktail shaker for small-town attire and a soberer domestic tone.

Loy, as always, plays the ideal partner—elegant, spirited, and sharp-witted. Though Nora is less involved in the action here than in previous installments, she retains her sparkle and supportive presence. Her banter with Nick remains one of the series’ great pleasures, and even when the plot meanders, the couple's playful dynamic keeps things buoyant.

Setting and Direction: A Change of Scenery

This fifth entry marks a notable shift in setting from the ritzy nightclubs and swanky Manhattan apartments of earlier films to the more modest and familiar surroundings of a small-town America. Sycamore Springs is a stand-in for Norman Rockwell’s vision of a peaceful post-war America—quiet, respectable, and slow-moving. It is against this backdrop of calm propriety that the chaos of murder feels more intrusive and less glamorous than in previous films.

Director Richard Thorpe (taking over from series regular W.S. Van Dyke, who passed away in 1943) keeps the pace steady, if a bit sedate. Thorpe, known for his workmanlike efficiency rather than a distinct visual style, doesn’t attempt to replicate Van Dyke’s brisk, effervescent tone. As a result, the film feels more conventional and less stylish than earlier entries, though still competently assembled.

Mystery and Supporting Cast

The mystery at the heart of The Thin Man Comes Home is serviceable but lacks the complexity or panache of earlier entries like After the Thin Man (1936) or The Thin Man (1934). It features a wide array of eccentric townsfolk and red herrings, but the stakes feel comparatively low, and the plot lacks a certain sharpness. Still, the film builds to a satisfying climax with Nick delivering his traditional parlor-room summation—always a highlight of the series.

Supporting performances are solid, particularly:

Harry Davenport as Nick’s father brings gravitas and warmth to the role of the proud but concerned patriarch.

Lucile Watson as Nick’s mother adds gentle humor and familial grounding.

Gloria DeHaven, in a youthful and spirited turn, brings some youthful energy to the proceedings.

Anne Revere and Leon Ames offer restrained, nuanced performances that give the mystery some dramatic depth.

Notably missing in this entry is Asta, Nick and Nora’s beloved wire fox terrier, who makes only a brief appearance. Asta had long served as a symbol of the couple’s playful domesticity and was often involved in key scenes. His absence here feels like a loss, symbolizing the film’s shift from lighthearted chaos to a more mellow, introspective tone.

Tone and Themes

The film retains the series' trademark blend of wit and mystery but with a more mature and contemplative tone. This is a Thin Man film less concerned with high society antics and more interested in roots, legacy, and familial reconciliation. Themes of generational expectation, identity, and proving one’s worth subtly underpin the storyline. Nick’s journey is as much about earning his father’s respect as it is about solving the crime.

The film also reflects its wartime context. Released near the end of World War II, the film quietly promotes values like domesticity, family unity, and the dignity of humble roots—perhaps resonating with returning soldiers and their families seeking normalcy.

Reception and Legacy

Upon its release, The Thin Man Comes Home received generally favorable reviews but was considered a lesser entry in the franchise. Critics praised the performances of Powell and Loy, as always, but noted that the mystery was lighter and the direction more pedestrian than in earlier films. Still, audiences were glad to see Nick and Nora back on the screen, and the film performed well at the box office.

Today, The Thin Man Comes Home is often viewed as a nostalgic installment—charming but minor in the context of the overall series. For fans, it offers the pleasure of revisiting beloved characters in a slightly different environment. It’s a quieter, softer outing, but still engaging, particularly for those who enjoy the chemistry of its leads above all else.

Conclusion: A Comfortable Return Visit

The Thin Man Comes Home may lack the sparkle and sophistication of the earlier Thin Man films, but it retains the franchise’s core strengths: witty dialogue, charismatic leads, and an atmosphere of lighthearted mystery. The shift to a small-town setting and a more personal story provides a fresh angle, even if the mystery itself is less riveting.

For longtime fans, the film feels like a reunion with old friends—warm, familiar, and gently amusing. While not the strongest entry in the series, it continues to showcase the enduring magic of William Powell and Myrna Loy, whose screen partnership remains one of the most delightful in Hollywood history.

In a word, The Thin Man Comes Home is comforting. It may not break new ground, but it proves that even in a quiet town, a touch of murder and a lot of wit still make for a satisfying cinematic cocktail.