The title *The Thin Man* (1934) refers to a character in the film, but it isn't the main character, Nick Charles, as many assume. Instead, "The Thin Man" is actually a reference to the murder victim, Clyde Wynant, who is described as a thin man in the original novel by Dashiell Hammett, on which the movie is based.

However, because the film and its subsequent sequels became so popular, the title *The Thin Man* became strongly associated with Nick Charles, played by William Powell. This led to the nickname being attached to the entire film series, even though the original "thin man" was only a plot point in the first movie.

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In Dashiell Hammett's novel *The Thin Man*, the title refers to Clyde Wynant, the central figure in the mystery. Wynant is a wealthy inventor who goes missing early in the story, and his disappearance sets off the investigation that drives the plot. He is physically described as being tall and thin, hence the nickname "the thin man."

The title has a dual significance: on a literal level, it points to Wynant's slender physique, but on a symbolic level, it emphasizes his elusive and mysterious nature. Throughout much of the novel, Wynant remains an enigmatic figure, with characters searching for him and trying to piece together his motives and actions. The "thin" descriptor underscores his frailty, both physically and morally, as the story reveals more about his involvement in the crime.

Ultimately, the "thin man" in the novel serves as a catalyst for the unraveling of the mystery, and the title highlights the central role this elusive figure plays in the narrative.

The 1934 film *The Thin Man* indeed feels more modern than many movies from the 1940s for several reasons:

### 1. **Witty and Fast-Paced Dialogue**
- *The Thin Man* features sharp, rapid-fire dialogue, especially between the lead characters Nick and Nora Charles (played by William Powell and Myrna Loy). This style of dialogue feels very contemporary and contrasts with the often more formal and melodramatic dialogue of many 1940s films. The humor and banter between Nick and Nora seem to anticipate the screwball comedies of later years, making the film feel ahead of its time.

### 2. **Progressive Portrayal of Gender Roles**
- The relationship between Nick and Nora Charles is notably equal and modern for its time. Nora is portrayed as Nick's intellectual equal, and their playful and respectful dynamic contrasts with more traditional and patriarchal relationships often depicted in the 1940s. Their partnership as a married couple who enjoy each other's company and engage in solving mysteries together feels fresh and more aligned with later depictions of relationships.

### 3. **Sophisticated Urban Setting**
- The film's setting in cosmopolitan New York, with its glamorous parties and sophisticated characters, exudes a sense of modernity. The urban, stylish environment and the characters' elegant, carefree lifestyles contribute to the film's contemporary feel, distancing it from the wartime or rural settings often seen in 1940s films.

### 4. **Lighthearted Tone Amidst Serious Themes**
- While *The Thin Man* is a murder mystery, it maintains a lighthearted and comedic tone throughout, blending genres in a way that feels modern. Many 1940s films, particularly during and after World War II, leaned toward more serious, dramatic, or noir themes, which can make them feel heavier and more dated by comparison.

### 5. **Pre-Code Hollywood Influence**
- *The Thin Man* was made during the Pre-Code era, just before the Hays Code (which imposed strict censorship on Hollywood films) began to be strictly enforced. As a result, the film includes more suggestive humor, playful innuendos, and a relaxed attitude toward drinking and gender roles than what would be allowed in later films of the 1930s and 1940s. This Pre-Code influence gives the film a certain edginess and freedom that was toned down in many later films, contributing to its modern feel.

### 6. **Timeless Performances**
- William Powell and Myrna Loy's chemistry is often cited as one of the film's most enduring qualities. Their performances feel natural and unforced, avoiding the more mannered acting styles that can make older films seem dated. Their charm and ease on screen help the film resonate with modern audiences.

### 7. **Pioneering of the Detective Genre**
- The film also helped to shape the detective genre, with Nick Charles as a laid-back but brilliant detective. This laid the groundwork for many detective films and TV shows that followed. While the 1940s saw the rise of darker film noirs, *The Thin Man*'s lighter take on the genre feels more aligned with modern crime comedies and mysteries.

In summary, *The Thin Man* feels more modern because of its witty dialogue, progressive portrayal of relationships, urban sophistication, light tone, Pre-Code influences, timeless performances, and pioneering approach to the detective genre. These elements combine to create a film that transcends its era and resonates with contemporary audiences.

Waiter, will you serve the nuts? ...I mean, will you serve the guests the nuts?

The Thin Man is directed by W. S. Van Dyke and co-written by Albert Hackett and Frances Goodrich. It is based on the Dashiell Hammett novel of the same name. Starring are William Powell and Myrna Loy, with support coming from Maureen O'Sullivan, Nat Pendleton, Minna Gombell, Porter Hall and Skippy as Astra the dog. William Axt scores the music and James Wong Howe is the cinematographer.

Plot finds Powell and Loy as married couple, Nick and Nora Charles, he is a retired detective, she a good time heiress. Planning to finally settle down, their life is upturned when Nick is called back into detective work due to a friend's disappearance and the possibility he was also involved in a murder. Murder, malarkey and mirth are about to become the order of the day.

It was the big surprise hit of 1934. Afforded only a tiny budget because studio head honcho Louis B. Mayer thought it was dud material, and he ordered for it to be completed in under three weeks time! Film made stars out of Powell and Loy and coined an impressive $2 million at the box office. Also birthing a franchise (5 film sequels and a radio and television series would follow), it's a film that has irresistible charm leaping out from every frame. It's easy to see even now why a mid 1930's audience could take so warmly to such an appealing motion picture.

From the off the film was in good hands, Dyke (One-Take Woody as he was sometimes known) was an unfussy director with a keen eye for pacing and casting, both of which are things that shine through in this production. There's also considerable talent in the writing, both in the source material and with the script writers. Hammett based his witty bantering couple on himself and his relationship with playwright Lillian Hellman, this was ideal material for Hackett and Goodrich, themselves a happily married couple fondly thought of in the cut and thrust world of Hollywood. As a couple they would go on to write It's a Wonderful Life for Frank Capra and win the Pulitzer Prize for their play The Diary of Anne Frank.

It stands out as a film of note because it successfully marries a murder mystery story with a screwball comedy spin, this was something new and exciting. While the believable relationship between Powell and Loy was also a breath of fresh air - a married couple deeply in love, devoted, funny, boozey and bouncing off of each other with witty repartee. It can never be overstated just how good Powell and Loy are here, true enough they are given an absolutely zinging script to work from, but the level of comedy, both in visual ticks and delivery of lines, is extraordinarily high.

Small budget and a small shoot, but everything else about The Thin Man is big. Big laughs, big mystery and big love, all bundled up into a joyous bit of classic cinema. 9/10