More a revue than a whodunnit. 'Tread Softly' makes good use of the deserted theatre as a setting; although it does rather go on, and the scenes with Nora Nicholson were so stilted I thought they were from a play within a play until I realised the police were still there asking questions.
In her first film since the war, blonde-maned Frances Day at 43 provides prewar thirties glamour as the diva whose position is soon to be usurped by ingenue Patricia Dainton. Betty Bascomb meanwhile displays the same menace she also did not long afterwards as one of the conspirators in Hitchcock's 'The Man Who Knew Too Much', while Harry Locke - in loud checks and a bow tie as the usual over-eager publicist, subtly named Nutty Potts ("There's nothing like a nice juicy murder to interest the public!") - gets a chance to show he can tap dance.
In her first film since the war, blonde-maned Frances Day at 43 provides prewar thirties glamour as the diva whose position is soon to be usurped by ingenue Patricia Dainton. Betty Bascomb meanwhile displays the same menace she also did not long afterwards as one of the conspirators in Hitchcock's 'The Man Who Knew Too Much', while Harry Locke - in loud checks and a bow tie as the usual over-eager publicist, subtly named Nutty Potts ("There's nothing like a nice juicy murder to interest the public!") - gets a chance to show he can tap dance.