TOO LATE FOR TEARS

US, 1949, 99 minutes, Black-and-white.
Lizabeth Scott, Don De Fore, Dan Duryea, Arthur Kennedy, Kristine Miller.
Directed by Byron Haskin.

An audience searching for a good example of film noir from the 1940s Hollywood studios might well consider Too Late for Tears.

Lizabeth Scott is the femme fatale, giving clues initially in not wanting to go to a social where she will be looked down on, recklessly grabbing the car wheel from her nice husband, Arthur Kennedy, then beginning to show true colours when a bag, full of cash, is tossed into the back of their car. Her husband is an honest man and wants to hand it over. She wants to keep it – with the revelation that she had married a rich man earlier and he had killed himself.

There are complications when her husband checks the bag in at a railway station (with an unexpected note attached which is significant at the end). But then, the number plate is tracked down by the criminal who wants his money back, Dan Duryea, and she moves from cold and calculating to seductive in dealing with him. Her husband dies. The criminal impersonates him in key areas. The husband’s sister becomes suspicious. They both are visited by an alleged friend from airport stays in England, Don De Fore, who the audience realises is not what he says he is – and there is a surprise in his identity at the end.

Meanwhile, the femme fatale wants to kill her sister-in-law, confronts the criminal, seemingly escapes to Mexico with all the money for a high life there. Not to happen – with some retribution at the end.

A very effective performance by Lizabeth Scott. And direction is by Byron Haskin, initially a cartoonist and journalist, moving to film is, collaborating on a number of science fiction films of the 50s and 60s.

1. Strong film noir from the late 1940s? Femme fatale? Crime, murder, betrayal?

2. The title, with reference to Jane? No repentance?

3. The American city settings, apartments, the river, the countryside? The musical score?

4. The introduction to Jane and Alan, her petulance, not wanting to go to the social, feeling looked down on? Wanting to turn round, taking the wheel of the car, impetuous, dangerous? The bag thrown into the car, stopping, the money, her wanting to keep it? Alan and his reluctance, moral stances? Concealing the money, Catherine’s visit? Alan on the edge? The decision to keep it for a week? His putting the money in the locker? The ticket, allegedly in the lining of his coat, the irony of it in his drawer, and the further irony of his message for the police if a woman withdrew the bag?

5. Jane, strong personality, using her wiles? Dan and his visit, the confrontation, her lies and deceptions? His violence towards her? His money? The various meetings, her different stories? Her concern about Alan? Going on the river, the gun, his death, Dan and his part in the deceit, impersonating Alan, her bearing the body in the river?

6. Catherine, her suspicions, Jane and the story of Alan leaving her, another woman, the description, Jane manipulating the car, left, stolen, driven to Mexico? Confirming her story? The alleged note?

7. Blake, his sudden arrival, his story about Alan, Jane seeing through it, getting the former friend, proving Blake was a fraud? With Catherine, his stories about her brother? The attraction? His noticing Dan, following him?

8. Jane, wary about Catherine, getting Dan to buy the poison, his drinking? Her wariness about Blake? Knocking him out? Catherine getting the doctor, the police?

9. Jane, finding Dan’s house, confronting him, the story about the fraud? Her poisoning him?

10. Taking the money, driving to Mexico, living the high life? Blake and his arrival, the confrontation? Revealing that he was her former husband’s brother, blaming her? Her fear,
falling over the balcony?

11. Blake and Catherine? The happy ending?

12. The revelation of an evil woman, no redemption?

LOST IN PARIS/ PARIS PIEDS NUS

Belgium, 2016, 84 minutes, Colour.
Dominique Abel, Fiona Gordon, Emmanuelle Riva, Pierre Richard.
Directed by Abel and Gordon.

Dominique Abel and Fiona Gordon are something of a cinema treasure and, like much treasure, has not been open to the public. A great pity. They made some short films but their features, Rumba and The Fairy, would go on many audiences lists after they see Lost in Paris – the French title more evocative, Barefoot in Paris.

The two have been married since the 1980s, meeting through their love of the Circus. Belgium is their base. However, Fiona Gordon is actually Canadian but was born in Australia. She is obviously proudly Canadian because Canada and her character as a Canadian feature strongly in Lost in Paris.

The film is a droll comedy. However, audiences searching for raucous comedies should not look here. These films are much more subtle even when a lot of the action is slapstick. It is as if they were paying homage to the silent comedies and the type of comic performances from the time of Chaplin and Buster Keaton. The acting is quite stylised, quite a lot of mime, comic postures, exaggerated situations (early in the piece, a door is opened to an office during a blizzard and everybody performs in mime being blown at precarious angles on their chairs by the blizzard, covered in snow, resuming normal positions when the door is finally able to be shut).

There are words in the film and there is a reliance on music, from Shostakovich to Erik Satie and more contemporary songs. However, the delight is in the stylised performances, not only of the central characters, of so many of the others during the action. They include a Canadian Mountie in Paris whom Fiona keeps encountering, her aunt’s exasperated neighbour at the laundromat looking for his socks, and a nurse caring for the elderly, a group of diners in fashionable restaurant (who keep bouncing in their seats as the sound system booms).

Fiona comes from Canada to seek her aunt in Paris, goes through an extraordinary number of adventures including falling into the River Seine, twice. Her aunt is played by veteran actress Emmanuelle Riva (Hiroshima Mon Amour, Leon Morin Priest and, Oscar-nominated in her 80s for Amour). She enters vigorously into the character of the ageing lady, not quite with it. At one stage she meets Norman, played by veteran French comic actor, Pierre Richard. There is a delightful interlude when they are sitting on a park bench, the music starts, and the focus is on the pair of feet tapping in time to the music and an entertaining choreography.

Speaking of choreography, there is also a delightful dance sequence in the fashionable restaurant showing that while Dominique and Fiona can do very awkward comedy, their dancing and movement has great finesse.

Dom lives on the street, in the tent, scrounging garbage bins, coming across some of Fiona’s goods and backpack, surfacing on the Seine, and, by chance, encounters her at the restaurant. They are attracted but not willing to acknowledge it. They have a number of adventures, especially getting to the aunt’s funeral – only to find that it is not the aunt. So, the destination of the film, though they are lost in Paris in some ways, is to find the aunt and a happy, if comic ending.

One of the best things about the screenplay is that small details at various times become very important in the later development of the plot.

Most of the action seems to take place on the Right Bank of the Seine – but, Fiona gives more meaning to the word gauche in her character.

1. The title in English? And the characters being lost, especially Fiona? The nuances in the French title, barefoot in Paris?

2. Audiences and their love for Paris, seeing Paris on screen, the Right bank, the Eiffel Tower, the streets, buildings, apartments? The musical score? The songs? From Shostakovich to Satie?

3. Fiona and Dominique, bringing their real-life relationship to the screen, as actors, as writers, as directors? Their comic tone?

4. The use of mime, posture, the tribute to the comic traditions from the silent era? Yet, with words?

5. Fiona, as a little girl, her aunt? Canada, growing up, the aunt going to Paris? In the village, her age, at work at her desk, the door opening, the blizzard and the characters bent with the wind and snow? Then the door shut? The decision to leave, the group farewelling her? Her hopes, Paris, finding her aunt?

6. The irony of aunt Martha, getting old, writing the letter, putting it in the garbage bin instead of the post? And her being upset at getting no reply?

7. Fiona, the travel, her backpack, her awkward manner, at the airport, the pack getting stuck in the metro? The encounter with the Mountie, his help, the escalator, seeing him on the station? And his recurring presence? Her aunt not at home, sitting at the door, going on the tour, the bridge, the photo, falling into the River, losing her phone and the photographer running to try to catch her? Surfacing from the river, losing the pack, on the boat? The going to the authorities, the issue of the passport, her aunt, the food voucher?

8. Don, living in the tent, pissing into the river, the people passing by, the dog and the food, the capsicum from the restaurant garbage, his chasing it? Finding the pack, ransacking it, keeping the sweater, keeping the purse? The money, going to Maxims for the meal? His table next to the toilet door and his being banged? The comedy with fixing up the loudspeaker, the music, the boom and his bouncing, the other people in the restaurant all bouncing in time with the boom? Wanting to dance, finding Fiona, the elegance and gliding of their dance performance?

9. Martha, her age, being a dancer, absent? The encounter with M. Martin and the kiss at the door? The nurse running up and down the stairs? Her wandering, looking in the garbage, the Statue of Liberty?

10. Fiona and her search, going to the bar, Dom following, looking through the cigarette holes in the paper? Information about the funeral? A bad sense of direction, Dom miming the directions, arrival at the cemetery?

11. The group, Dom and his elaborate speech about Martha’s character? His catching his tie, in the elevator, the director, freeing him, the drink? Fiona with the ashes, in two piles, thinking one was Dom?

12. Dom, the memories of the encounter with Martha, comparing the photo with the dead woman? The issue of the clothes, the tent, the champagne bottles that he lost in the river? Drinking with Martha, toasting the Statue of Liberty?

13. The interlude in the park, Martha meeting Norman, the past relationship, sitting on the bench, the choreography of their dancing feet?

14. M. Martin, the laundry, the kisses, his concern about his socks? Collecting clothes in Martha’s room?

15. Fiona, getting into the apartment, the authorities? The phone call, the search?

16. The Mountie and his help?

17. Martha, Dom, the encounter in the tent, the Eiffel Tower, her climbing it? Dom and Fiona following it, going up, the slapstick with the detached ladder on the girders?

18. Finding Martha on top, in the television dish, all sitting on the top?

19. Martha’s death, the ashes, the biodegradable urn, the rain, and into the river again?

20. Fiona deciding to stay with Dom?

 

 

 

 

CB STRIKE: THE CUCKOO'S CALLING

UK, 2017, 175 minutes, Colour.
Tom Burke, Holliday Grainger, Elarica Johnson, Amber Anderson, Kadiff Kirwan, Bronson Webb, Brian Bovell, Tara Fitzgerald, Kerr Logan.
Directed by Michael Keilor.

The Cuckoo's Calling is the first in a television series, CB Strike, based on the novels by Robert Galbraith, the alias for Harry Potter's J.K.Rowling. The other three in the series are The Silkworm, Career of Evil, Lethal White.

The film is a very well-written, incorporating the key elements of the novels into a two hour running time. The first film, however, is a bit longer, because it fills in ineffective brief detail, the background of the central character, Cormorant Strike, alienate it son of a famous pop star, his mother having committed suicide, his being in the military, wounded in Afghanistan and losing a leg, failing in relationship with Charlotte his fiancee, setting up as a private eye in central London. It also fills in something of the background of Robin, who answers an advertisement and becomes his assistant, especially in her engagement to a man who does not approve of Strike and Robin working for him.

Tom Burke looks the part of Strike and communicates his eccentric character, his drive, his drinking, his sometimes slovenly living, but his ability to follow clues, interrogate people, draw conclusions. Holliday Grainger also fits the part of Robin particularly well, then making an odd investigative couple.

This film begins with the death of a famous model and her stepbrother asking Strike to investigate her death. Strike had known the family in the past, the difficulties, the death of one of the brothers, his boyhood friend. The plot also takes Strike into the world of modelling, shows, designer¦ It also shows the complexity of the life of the murdered woman, a woman of mixed race, adopted, finding her birth father, being blackmailed by an associate.

Eventually, there is an unexpected twist and Strike working out the complexities of how the murder was done. The films are very, very British in their tone and sometimes understatement.

1. Murder mystery? Detective work? Made for television? The writings of Robert Galbraith, JK Rowling? The adaptation of the novel for the screen?

2. Cormoran Strike, his name? Tom Burke in the role, his appearance, age, personality? The information about his rockstar father, the death of his mother? Friendship with the Bristows in the past? Service in Afghanistan, the visuals of his work, the attack, loss of his leg, the boy and his smiling reaction? His decision to be a private detective, lacking money, his rather dingy office, sleeping there, ousting his secretaries, lacking clients, his drinking, relationships, methods and skill?

3. The London settings, the office, the interiors, the area near Soho and Chinatown, the streets, the pubs? The contrast with the wealthier sections of London, the Georgian rows of homes? The contemporary hotels? His visits, the headquarters for fashion design, shops, offices? The musical score?

4. Lula, her place in fashion, race issues, crowds, partying, friends? Going home, changing, her boyfriends? The discovery of her fall and death in the street? In the flashbacks?

5. Robin, coming to Strike, the incident on the stairs and her almost falling, caught by Strike? Accepted, her work, tidying up, going to the shop to buy milk? Googling for information about Strike, the headlines and the audience learning at the same time? Her competence, interest in the work, her being engaged, the scenes with her fiance, at home, his crowding her, to control? Tidying the office, arranging the files, getting the information, assisting, uncles, accompanying Stripe, with the interviews, going to the apartment, the dress shop and trying on the dresses, the various theories? At the end of the week, her wanting to return, staying?

6. John Bristow, interviewing Strike, the least of his family, the large amount of cash, the past and Strike knowing him, his mother in the past, her illness, dying, his fussing for her? Uncle Tony, his mother's brother, rolling the family, Finance? The relationship between the two men? The story of the dead brother, riding into the quarry? Lula's death, her place in the family, being adopted after the death of the brother? The issue of alibis, meetings, the killer and the motivations, the method?

7. Strike, going to visit the house, the interview with the man in charge, the views of the flats, the surveillance footage, realising that it was two men? The discussions with Tansey, her husband, the experience of being out on the balcony, hearing the quarrel, seeing Lula for? Her relationship with Tony, the secrecy? Agreeing to meet Strike, the restaurant and Tony's warning him off? The further interviews, Rush hour and chasing her, discovering her dead? The discussions with the fashion designer? Lula's boyfriends and the interviews? The actress, her friendship with Strike, the sexual encounter? The possible suspects?

8. The manager, the information, his swimming in the pool, his collaboration?

9. The discussion with the police investigators, the verdict of suicide, Strike and the young officer, sharing information?

10. Strike, his drinking, Robert helping him, the aftermath? The morning after?

11. The visit to the shop, the gossip of the women in the shop, getting information about Lula and her friends? And the final gift of the dress for Robin?

12. Family, his character, suspicious, attitude towards John, talk to the sister, her death? Innocent?

13. Rochelle, the images of her with Lula, helping her, racial issues? Fleeing, her death, the information about the blackmail?

14. Lula, wanting her origins, getting the documents, the discovery of her father, university professor, his being interviewed, not aware? The revelation about his son, in the military, Strike interviewing him, his reaction, admitting going to the apartments, not wanting Lula's cash, being seen in the surveillance photo?

15. Strike, confronting John, explaining his method, the visit to the apartment, information about his uncle, the alibi, his uncle in Oxford, staying in the building, finding the gloves and dress, confronting Lula, blaming her for the money for her brother, pushing her out of the window? Killing Rochelle? Coming to Strike, fighting strike, his arrest?

16. Drama, style, personal stories, crime and detection?

 

 

 

 

 

CB STRIKE/THE SILKWORM

UK, 2017, 110 minutes, Colour.
Tom Burke, Holliday Grainger, Monica Dolan, Kerr Logan, Tim Mc Inerney, Lia Williams.
Directed by Kieron Hawkes.

The Cuckoo's Calling is the first in a television series, CB Strike, based on the novels by Robert Galbraith, the alias for Harry Potter's J.K. Rowling. The other two in the series are The Silkworm, Career of Evil. Then Lethal White.

The films are very well-written, incorporating the key elements of the novels into a two hour running time. The first film, however, is a bit longer, because it fills in in effective brief detail, the background of the central character, Cormoran Strike, alienated son of a famous pop star, his mother having committed suicide, his being in the military, wounded in Afghanistan and losing a leg, failing in relationship with Charlotte his fiancee, setting up as a private eye in central London. It also fills in something of the background of Robin, who answers an advertisement and becomes his assistant, especially in her engagement to a man who does not approve of Strike and Robin working for him.

Tom Burke looks the part of Strike and communicates his eccentric character, his drive, his drinking, his sometimes slovenly living, but his ability to follow clues, interrogate people, draw conclusions. Holliday Grainger also fits the part of Robin particularly well, their making an odd investigative couple.

The story is set in the literary and publishing world of London. An eccentric writer is found dead, mutilated, in an old house in West London. Previously, his wife had approached Strike to contact him, then to find him. However, due to circumstances, she is arrested, putting a strain on her and her mentally disabled daughter.

Strike and Robin continue the investigations so well established in the first film. Robin also has difficulties with her fiance, the impending wedding, the invitation to Strike who doesn't want to go, Robin having to face decisions whether she wants her career as an investigator or not, and at what cost.

The dead author had written an aggressive novel in which most of his friends appear as characters and are attacked and criticised. They include his publisher, his editor, his agent, a rival author whose wife had committed suicide because of an attack by parody on her work.

There is a strong cast in the supporting roles, a lot of interrogations, moving around London and an authentic atmosphere, a trip to Devon.

And, somewhat in Agatha Christie vein, the main suspects are all assembled and Strike reveals all.

1. The detective stories of Robert Galbraith/ JK Rowling? Mystery? Detection?

2. The character of Cormoran Strike, age, war, injury, personality and character? His collaboration with Robin?

3. The London settings, Islington to Talgarth Road, Soho? An authentic feel of the city?

4. The musical score?

5. The opening, the woman and the suicide note, her suicide? The introduction to the world of writers?

6. Owen and his publisher, the discussion, Owen leaving the publisher? His books, the manuscript, his work with his agent, the rivalry with his fellow novelist? The setting for the drama and the murder?

7. Leonora, coming to the office, wanting the phone call? Searching for her husband? Strike not taking the money? His being busy, discussions with Robin? Leonora upset, asking is Strike to find her husband? His going to her house? Her relationship with the Dodo, Dodo and her mental disabilities, her drawing, her bag and stealing things, wanting her Daddy? Leonora giving the key to the other house? The visit of the editor to Leonora? Drinking?

8. Robin, her commitment to Strike, love of her work, the relationship with Matt, going for drinks, Matt not liking Strike, the invitation to the wedding? Strike and his reaction? Matt and his mother’s death, Robin delaying, driving Strike to Devon? Her upset and not getting the promotion? Strike and his explanation, his own career choices, choosing his career over Charlotte? The same dilemma for Robin? Matt returning to London, Robin explaining her choices?

9. Strike finding the body, the ritual disembowelment? The relationship to the novel, the film visualising the extreme rituals written in the novel? The novel and its attacks on Owen and all his friends and associates? Their reactions?

10. Leonora, her arrest, the buying of the burqa with the credit card, her background as butcher, her knowledge of her husband? The arrest, the role of the police? Fixed ideas
on Leonora's guilt? Strike confronting the police officer (who was grateful for Strike saving his life)? The interview with the lawyer, Leonora upset, in prison?

11. The interviewing of the characters, the drive to Devon, the publisher, his houseboy and hostility, offering £10,000 as a reward, the invitation to the party? The discussions with the editor and his style? The agent and her sharp presence, her past relationships with the authors, her anger? Robin following Fancourt, to the cemetery, the manuscript on the grave? The satire on his wife's work? The interview at the party?

12. Robin, going to the house, encountering Dodo, Dodo wanting to steal something, permission to look in the bag, finding the original manuscript? Dodo upset at Robin leaving?

13. The discussion with the editor, the issues of style, the semicolons? Going to the expert, comparisons of texts, Strike and his conclusions?

14. The gathering of all those concerned, Strike offering the solution? The truth? The agent, the complications of her relationships, her revenge? The running, Robin pursuing her and catching her?

15. The solution of the case, the satisfaction, Strike offering to pay for Robin’s course?

 

BROADWAY LIMITED

US, 1941, 77 minutes, Black-and-white.
Victor Mac Laglan, Marjorie Woodworth, Dennis O' Keefe, Patsy Kelly, Zasu Pitts, Leonard Kinski.
Directed by Gordon Douglas.

This is a very entertaining film, taking us back to the themes of the screwball comedies of the 1930s, action happening on trains (with a play on the title, The Baby Vanishes, with memories of the British Hitchcock film, The Lady Vanishes).

Within a short running time there are quite a few characters and quite a few complex situations.

The film opens with a focus on one of those dominating European film directors, played by Leonid Kinski, who enjoys press conferences and attention, promoting his star, played by Marjorie Woodworth. But, she wants out. He devises a way of promoting her next film, ordering his assistant to find a baby so that there will be cute photographs of star and baby for the admiring press.

The assistant is played very effectively by Patsy Kelly, always good at comedy. She asks her traini driver and engineer friend, played by Victor Mac Laglan in a rather soft rather than aggressive style. He talks in a bar, somebody hears him and gets him a baby for $500. In the meantime, there are headlines that a baby has been kidnapped in Los Angeles.

In the meantime, when they get on the train, the film star’s former boyfriend, a dedicated doctor, Dennis O’ Keefe, sees her again but is suspicious of her relationship with the film director, with the train driver, and a lot of dialogue confusion as to who is the father of the baby! Added to that is the head of the fans of the actress, Zasu Pitts, bringing a lot of confused comedy as well. And the man who organised the trip with the baby, looking very sinister, is also on the train. And the attendant tries his best to sort things out for everyone.

The dialogue is often very amusing as are the situations. There are plenty of mixups, the train driver getting the baby off the train and leaving it with a note for the police during a delay at a station while there he has to drive another train to a different destination. However, the sinister -looking man gets the baby back on board!

Touches of romance, ditzy comedy from Zasu Pitts as well as from the film director, deadpan comedy from Patsy Kelly, and a big buildup to the group solving the case and handing the baby over to the police – only to find that the baby was found in Los Angeles before the trip and the poor man who is arranging for them to have the baby was travelling back home to Philadelphia for a family surprise.

The film was directed by Gordon Douglas who had been acting for Hal Roach and his comedies and moved into direction. This is his third feature film. He went on to a quite a range of films from drama to action, touches of comedy as well as detective stories (including through with Frank Sinatra).

SANGAREE

US, 1953, 94 minutes, Colour.
Fernando Lamas, Arlene Dahl, Patricia Medina, Francis L.Sullivan, Charles Korvin, Tom Drake, John Sutton, Willard Parker, Lester Matthews.
Directed by Edward Ludwig.

This is the type of historical and romantic melodrama that was very popular in the late 1940s, early 1950s. While it is basically entertaining for later audiences, it now seems very much a lush indulgence from the past.

The setting is the immediate past of the War of Independence. The setting is Georgia. The focus is on a property, Sangaree, as well as trade of the produce of the property and the threat of pirates.

Fernando Lamas was a leading man at this time, from Latin America, popular as a romantic lead as well as singing (as in The Merry Widow with Lana Turner). Here he portrays Carlos, a man born poor, adopted by the owner of Sangaree, serving in the war, returning and asked to manage the property and business by the dying owner. His actual son, Roy, played by Tom Drake, is willing to concede management to Carlos. However, the complication is the ambitious sister, Nancy, played by Arlene Dahl (who was to marry Lamas after this). She deceives him by posing on a riverboat as a servant and then revealing herself, haughtily, coldly, at a society reception.

Also in the act is the local Doctor Bristol, played by British Francis L. Sullivan and his manipulative son played by John Sutton. There is fear of plague in the city, Carlos wanting to do something about it and actually being elected to the health officer of the region gaining the of Dr Bristol as well as his son who is engaged to Nancy. This provides the opportunity for a beefy brawl in a local tavern.

There is also a suspicious Frenchman, Pagnol, Charles Kaufman, who is suspected of being the leader of the pirates.

Carlos and Nancy have a great deal of rivalry but she manages the estate well, Carlos and Nancy each succumbing to each other’s charms – but the romance spoiled by his suspicion that she is in league with the pirates. Of course, she is not.

Another complication is Roy’s wife, Martha, Patricia Medina, who has always been in love with Carlos and eventually betrays him with the pirates. And, for her comeuppance, she contracts the plague.

There is a final drama with Dr Bristol refusing entry into his warehouses – Carlos able to infiltrate the warehouse and it is revealed that it is stopped with all the pirated goods from Sangaree and is filled with rats and dead slaves, the source of the plague.

Tongue-in-cheek entertainment, 1950s style – and this film was Paramount venture into the use of 3-D in 1953.

GREAT GOD GOLD

US, 1935, 71 minutes, Black-and-white.
Sidney Blackmer, Martha Sleeper, Regis Toomey, Edwin Maxwell, Ralf Harolde, Maria Alba, John T. Murray, Gloria Shea, George Irving.
Directed by Arthur Lubin.

Quite a striking title. This is a film focusing on the world of finance, tapping into the years of prosperity before 1929, focusing on the Great Depression, so many losing fortunes, the suicides, the exploitation by companies which specialised in receivership of doomed enterprises. (Some commentators have made the comparison with the crash of 50 years later an the character of Gordon Gecko.)

Sidney Blackmer plays John Hart, a financier, genial and agreeable, observing prosperity and gaining the attention of Phil Stuart, Regis Toomey, a journalist who features an interview with him making a forecast of disaster. When the disaster occurs, some crooked businessmen approach John Hart to join them in a receivership company. In all his dealings, he tosses a coin, gets someone to call and follows what happens. His first test is a hotel, the audience seeing the businessman who invested in the hotel and is about to take a great loss. His daughter returns from holiday in Paris, fashionable. He kills himself.

John Hart continues to prosper, taking on other companies. Phil Stuart continues as his friend. The two businessmen continue to visit him but wanting to sign a contract in terms of the sharing of the profits. In the meantime, the businesses and daughter, Marcia, has been trying to confront Hart but has failed, eventually intruding, verbally insulting him. In the meantime,Hart is carrying on with the wife of the hatchet man for the business.

The latter part of the film shows another company in danger, Hart wanting to take over, his partners pressurising him. He discovers that Marcia is employed by this company and is trying to find documentation to bring him to court. He is attracted to her, discovers what she is doing, invites her to dinner. In the meantime, the jealous wife has seen him with Marcia and explains everything to her husband who comes to the apartment and shoots Hart.

He is wounded, but stays for the dinner, Marcia looking through documents, his giving her the contract, a kind of repentance for what he has done, and dies.

Rather different from the small-budget crime thrillers of the period, still interesting in its presentation of the financial world, double-dealing, loss of integrity.

1. A film of the 1930s, pre-Depression issues, the Depression, post-depression finances?

2. Small budget, brief running time, strong characters, situations, interactions? The musical score?

3. The introduction of the theme, the prosperity of 1927, 1928, the buildup to the Depression? The depression hitting, the collage of businessmen hit, failures in business, suicides?

4. The character of John Hart, sitting in the exchange, observing? Genial? Shrewd? Yet his having the coin, always tossing the coin and having someone call and his following this? His interview with Stuart, his predicting the collapse? His reputation?

5. The businessman, approaching heart, the plan, Nitto as the hatchet man? And the presence of his wife? The discussions, the agreements?

6. The Excelsior hotel, the manager, his losses, the return of Marcia, fashions from Paris, his delight in seeing her, his killing himself? The effect on her? Her trying to get an appointment with Hart? The sympathy from the secretary? Hart avoiding her, her getting in, seeing the wife with Hart, her anger and insulting him?

7. The partners, sleazy characters, like Laurel and Hardy in their interactions with each other? Their greed, Hart wanting to change the contract, their wanting a written contract? His not signing? The later bringing it, his agreement?

8. The new company for the takeover? Hart visiting the owner? Finding Marcia working for him? Marcia and her attitudes, with Hart, filing the documents? Turning on the intercom and hearing the agreement, the signing of the contract?

9. Marcia and Stewart, working together, the attraction?

10. Hart arranging the dinner, at the apartment, Nitti and his jealousy, Hart and his previous skills in explaining everything away? The jealous wife seeing Hart with Marcia? Nitto shooting him? The dinner, the collage, Marcia arriving, searching the documents, the wounded Hart sitting down, giving her the document, his change? Dying?

11. A brief drama but convincing about exploitation and the business world?

WALK A CROOKED MILE

US, 1948, 91 minutes, Black-and-white.
Dennis O' Keefe, Louis Hayward, Louise Allbritton, Carl Esmond, Onslow Stevens, Raymond Burr, Art Baker, Lowell Gilmore, Philip Van Zandt, Charles Evans, narrated by Reed Hadley.
Directed by Gordon Douglas.

By 1948, it was clear that there was an Iron Curtain down the middle of Europe. In the United States, films about the Iron Curtain, including the film with that title, begin to be made, semi-documentary in style, to inform the American public and some morale boosting. However, it is the beginning of the House of un-American activities, leading to red scares, Mc Carthyism and blacklisting.

This is an effective straightforward drama, similar to many being made at 20th Century Fox, semi-documentaries about politics, police, crime.

Dennis O’ Keefe is always a reliable leading man and is the leading agent in the investigation of leaks from a centre where atomic research is being done. Louis Hayward represents Scotland Yard, joining in the investigation because the secrets are being sent to the UK.

At the opening, there is a suspect who leaves the centre, holes up in an apartment, is under surveillance, but is murdered. (The film uses the device of the murderer disguising himself as a priest and not considered under suspicion.)

There is a Communist cell, a wide range of ordinary citizens, but becoming more fanatical in their loyalties. They are being led by an artist who is able to incorporate with secret ink substances the formulae on his paintings and ship them to England. Amongst the cell is Raymond Burr who gets the sinister jobs.

The main scientists on the project are filmed during a meeting – and all are under suspicion, especially Louise Allbritton as the secretary of the group. This leads to a drop at a laundry, the Scotland Yard man going undercover at the laundry, investigations of the substance used to conceal the formulae, the work of the scientists. This leads to a final confrontation and shootout and the eventual unmasking of the traitor.

The film was directed by Gordon Douglas who began as a child actor, was a prolific director from the 1930s, starting with some comedies, Laurel and Hardy but moving for many decades into action films, even the late 1960s, three with Frank Sinatra.

1. A film from the beginning of the Cold War? Atomic secrets? Espionage, communication with the enemy? The past alliance with the Soviet Union, changes?

2. The documentary-like style, the serious narration, the description of the action, the issues, the role of the characters? The agents, the FBI, Scotland Yard, collaboration?

3. The plausibility of the plot? The Communist cells? Overseas contacts? Nuclear secrets? The parallels with actual cases of the period? And the beginning of the fears and the anti-Communist era in American politics and society?

4. The explanation of the centre, the research, the qualified scientists, their meetings, formerly? Leaks from the centre? The local contacts in Los Angeles? Getting the information to the UK?

5. The involvement of local authorities, the police, the FBI? O’ Hara and his involvement, dedication? His associates and their strategies? The phone information about the suspicious character? The murder? Krebs and the Communist cell, photographing O’ Hara for identification? Surveillance on the contact, his hiding out in the apartment, photographing the visitors? The priest, the ignoring of the priest because of his status? His being the killer?

6. Scotland Yard, Scotty Grayson, committed to his work, the British connections with the case? Collaboration with O’ Hara, working together, friendship, tactics?

7. The authorities at the centre, permission to film the meeting? Each of the scientists under suspicion? Especially Tony, her having the key to the safe? Following each of the scientists? Tony and her going to the laundry? The manager of the laundry and his being part of the Communist cell? Her going out with the scientist and her attraction to him? The other members, no suspicions?

8. Grayson going undercover, working at the laundry, the connections? Krebs taking the box of laundry, O’ Hara following him, the confrontation in the alley, Krebs losing the information? His being cross-examined?

9. The role of the artist, concealing the formulae on his paintings? Identifying the location, identifying the painter? The recovery of the handkerchief with the formula, the scientists and the various ways of trying to bring it to the surface? Success?

10. The interrogation of Tony, under suspicion? The murder of the scientist?

11. O’ Hara, the address, hurrying to confront the members of the cell? His crash? Urging Grayson to meet him, Grayson rescuing him from the crash? O’ Hara, taken by Krebs, the gun? The interrogation and torture? The role of the landlady, her courage because she had been interrogated during the war, her gratitude to the US, hitting Krebs but her being shot?

12. The police, the FBI, the shootout? The apology to Tony?

13. The clue of the ink, the ash, the identification of the scientist who was guilty of treason?

14. The morale boosting for the American cinema going public at the time?

HELL’S ISLAND

US, 1955, 84 minutes, Colour.
John Payne, Mary Murphy, Francis L.Sullivan, Eduardo Noriega, Arnold Moss, Paul Picerni.
Directed by Phil Karlson.

John Payne, who had appeared in dramas and, especially, musicals in the 1940s, became an actor in serious action shows during the 1950s. This is definitely one of those – although it has strong echoes of film noir in Mary Murphy as quite a femme fatale.

There is an unusual opening credits sequence with action going on behind the titles but the audience not hearing any words, leading to a confrontation, guns, and the hero, Mike, being wounded. In hospital, he is being interrogated in the story unfolds in flashback. He has been hired by a big criminal, a heavy, literally because he is played by the big British actor Francis L. Sullivan. After being abandoned by his girlfriend, Janet, Mary Murphy, Mike went on a bender, losing his law practice, and now being hired to track down a ruby allegedly in the possession of Janet.

He goes to the island where she lives, mingles with the crowds, finds his first contact murdered at a cockfight, ignored by Janet in the street, then summoned to her house.

It is a tangled tale, especially as Janet does a lot of the tangling, wanting Mike to rescue her imprisoned husband, confessing that she actually tampered with the plane causing the fatal accident for which he is accused. However, there is even more to the story, the husband being pleased to be safe in prison from his murderous wife is also after his life insurance.

A set up, trapping Janet, her being arrested, Mike then confronting the criminal and back to the opening credits sequence.

The film is directed by Phil Karlson, a veteran from the 1930s of a great number of action films – and his having quite a strong reputation in his field.

1. 1950s action adventure with many touches of film noir.

2. The title, the location, the island itself, the sea, the resorts, mansions, prisons, the police? The musical score?

3. The opening during the credits, the action without words, the characters, the confrontation, guns, shots, the hero wounded, taken to hospital, his being interrogated, the flashbacks and the story? The reprisal of the opening scene, the shootings, the deaths of the villain?

4. Mike Cormack, his background, the law, his relationship with Janet, her leaving him, marriage, his going on benders, in the clubs, security? His being approached by Barzland? The proposition about the ruby? The payment? The involvement of Janet?

5. His going to the island, his cover, at the hotel, the employee spying on him, information to Janet? His wandering the town, the statues and his fascination? Looking for the contact, the cockfight, the murder of the contact? His seeing Janet in the town, her rejection of him, sending the message, his going to visit her? His feelings?

6. Janet, her background, leaving Mike, marrying Eduardo, his wealth? The issue of the ruby and her denial? Eduardo in prison, for murder, his partner, the tampering with the plane, the trial? Janet and her confession that she tampered with the plane, her motivations? Wanting to get Eduardo out of prison, asking Mike to help, the rescue?

7. Janet, the contact with Paul, the statues? His being on the boat for the rescue?

8. Barzland, in the wheelchair, the thugs, the confrontation with Mike, threats, violence? The ruby?

9. Mike on the island, meeting Eduardo, his feeling safe in prison, his innocence, his being comfortable and safe, the truth about Janet? His life insurance?

10. The police, Mike and his plan, Janet on the boat, shooting Paul, turning around? Her plausible story to Mike? The appeal to him, the discovery of the ruby, the police and her arrest?

11. The confrontation with Barzland, guns drawn, Barzland falling out the window, Mike shot, his recovery?

I BURY THE LIVING

US, 1957, 77 minutes, Black-and-white.
Richard Boone, Theodore Bickel.
Directed by Albert Band.

Rather a strange little film. It has touches of horror, touches of madness. In fact, the plot is rather bizarre, especially when introduced by information that science tells us that some people have psychic superpowers and exercise them.

Richard Boone, comparatively early in his career, plays Robert Kraft, a business manager who has connections with the local Cemetery and is appointed to be in charge. He is reluctant, thinks he is too busy. His uncle wants him to take the job.

In the meantime, there is the Caretaker of 40 years, Andrew Mc Kee, played in rather heavy disguise by Theodore Bickel. Scots accent, incessant chatter, he works around the cemetery, with the gravestones, keeping the graves – but is to be retired after 40 years with a good pension.

There is a mysterious map of the cemetery, shown in close-up, sometimes twisted, sometimes glowing. Robert Kraft puts pins in various plots that have been purchased. However, after he puts in the pins, the persons concerned die. There is a young married couple. There are three businessmen who all seem to drop dead independently and mysteriously. There is his uncle. And, as a test, with the police and his friends, a plot is reserved for somebody in France – with his wife ringing to say that he needs a plot because he has died in Paris.

Robert Kraft thinks he’s going mad, wants to avoid the situation, is concerned, consults the police, talks with his friend. And, all the time, there is Mc Kee pottering around, carving names on the headstones.

Just as the audience might be thinking that there is something in Robert Kraft’s superpowers, it emerges, of course, that it is all logical, that Mc Kee is quite mad, resents being laid off, and his revenge by killing off people, especially frightening some to death. The Paris situation is a police set up to trap Mc Kee.

Relief for Robert Kraft, for his girlfriend, for his friends – and the end of a strange little film with a strange story about special powers and about madness.