THE LAW AND JAKE WADE. MGM, 1958. Robert Taylor, Richard Widmark, Patricia Owens, Robert Middleton, Henry Silva, De Forest Kelley. Based on a novel by Marvin H. Albert (Gold Medal, 1956). Director: John Sturges.

   The Law and Jake Wade has many of the requisite elements of an above average 1950s Western. Directed by John Sturges, whose Last Train From Gun Hill I reviewed here, the film boasts an impressive cast and an even more impressive natural scenery of the Alabama Hills and the High Sierras. There are some incredibly well shot action sequences to boot.

   Overall, the film has a quite stark and gritty feel to it. This dovetails nicely with the film’s plot about a man seeking a domestic, morally upright life far removed from both his wartime experiences and his criminal past.

   Yet, despite all this, the film nevertheless ends up feeling as something of a letdown. It’s not so much that the plot doesn’t work, as it is that outlaw-turned-lawman Jake Wade, as portrayed by a taciturn Robert Taylor, just isn’t all that a compelling Western protagonist.

   Instead, the film’s evilly grinning villain, played by Robert Widmark, ends up being the movie’s center of gravity. Without him as an antagonist, the viewer might find it very difficult to care about Jake Wade.

   The film begins with Jake Wade (Taylor) breaking Clint Hollister (Widmark) out of jail. He does it out of a perhaps misplaced sense of loyalty to the man, because as it turns out, the two men used to be partners in crime. That is, until Wade accidentally shot and killed a young boy in a bank holdup (or so he believes). Wade’s left the criminal life behind him and has set up shop in a new town with a lovely girl and a job enforcing the law as opposed to breaking it.

   But Hollister and his men aren’t about to let Wade walk out of their lives so readily. There’s the pesky matter of stolen cash that Wade, now a Marshal, allegedly buried, and Hollister wants his share of the loot.

   So he kidnaps Wade and his fiancée, Peggy Carter (Patricia Owens), with the goal of forcing them to take him to where the money is buried. Assisting him in his endeavor is his gang, including the lanky sociopath Rennie (Henry Silva) and the violent but loyal Wexler (Star Trek’s DeForest Kelley in a great role). It’s Widmark’s character that makes the movie increasingly suspenseful.

   The rest of the movie follows this ragtag expedition as they traverse mountain paths, hole up in a ghost town, and do battle with Comanches.

   And, naturally, there’s a final shootout between Jake Wade and Clint Hollister. Wade ends up killing his former partner, allowing him to at least have an opportunity to put his dark past behind him once and for all.

   It’s only too bad that the character of Jake Wade was never developed beyond what is essentially a stereotypical Western anti-hero, a former Confederate soldier and outlaw who wants a fresh start.

JOSEPHINE PULLEIN-THOMPSON – They Died in the Spring. Hammond Hammon & Co., UK, hardcover, 1960. Linford Mystery Library, UK, softcover, 1990. No US edition.

   This is the second of three recorded cases that Chief-Inspector James Flecker of Scotland Yard is known to have worked on. The first was Gin and Murder (1959), the third and final one was Murder Strikes Pink (1963). They Died in the Spring takes place in April, not surprisingly, in a part of England called Bretfordshire, where a retired Colonel has been found shot to death. An accident, it is thought at first – the old gentleman is found fallen in a woods with his shotgun nearby — but gradually it becomes clear that it is a case of murder instead.

   That Colonel Barclay had recently announced his intention to plough over the local cricket field, land which in truth he owned, may have led someone in respond in anger, but the Colonel was the sort of person who seems to have made enemies easily. But what could be the connection between his death and that of a young female German house servant in the neighborhood? The case is too much for the local police force, and Flecker is called in to assist.

   Much of what follows is tedious police work. Lots of questions, lots of answers, not all of which agree which each other, lots of notes taken on the backs of envelopes, lots of conferring with Detective-Sergeant Browning, who is working with Flecker on the case. There is something of a Midsomer Murders feel to the investigation, except that Inspector Barnaby is happily married, while Flecker has regrets.

   From pages 122-123:

   The case is, one must admit, rather routine, consisting largely of the breaking down of alibis. As an author, Pullein-Thompson seems more adept at describing the local countryside in a fashion that caught my attention more than did the case itself.

   From page 131:

   I confess that I didn’t follow the investigation all that closely, but I definitely enjoyed the book, especially the ending, which had nothing to do with nabbing the killer, but which took me by surprise. I had to look back and check to see, but yes, the clues were all there.

R.I.P. JOSEPHINE PULLEIN-THOMPSON (1924-2014). Besides the three Flecker mysteries, Josephine Pullein-Thompson was far better known in England for her pony books written primary for girls. According to her online obituary in The Guardian on 22 June 2014, “In the equestrian novels that she, her mother Joanna Cannan and her younger twin sisters Diana and Christine, wrote – nearly 200 between them – riding horses was also the way that girls could show that they were just as good as boys, if not better. Their heroines relished mucking out stables and the freedom of galloping away across the countryside, and the pluckiest were able to turn bedraggled nags into rosette-winning champions, later returning home to celebrate with a truly ‘supersonic tea’.”

   Joanna Cannan, by the way, was also a mystery writer, with some thirteen works of crime and detective fiction included in Hubin.

BAD FOR EACH OTHER. Columbia Pictures, 1953. Charlton Heston, Lizabeth Scott, Dianne Foster, Mildred Dunnock, Arthur Franz, Ray Collins, Marjorie Rambeau, Lester Matthews, Rhys Williams. Screenplay: Irving Wallace & Horace McCoy. Director: Irving Rapper.

   This movie is available on DVD in a set of four films billed as Bad Girls of Film Noir, Volume 1. While I’ll name them below, I won’t comment at length on the other three, but to be blunt about it, Bad for Each Other is the kind of film that gives noir a bad name.

   Don’t blame the movie. It is what it is, a black-and-white doctor drama that when it was made had no intention of being related to any of the host of crime films, spy dramas, gangster movies, mystery thrillers, and even the occasional historical mini-epic from the late 40 and 50s that are all lumped together in the guise of being noir. Some are. Most aren’t. “Noir” is now often little more than a marketing device.

   There isn’t even a crime in this one, only the moral dilemma some members of the medical profession (Dr. Tom Owen, for example, as portrayed by Charlton Heston) must face: be idealist and work for pennies on the dollar that society doctors can make, catering to rich women with minor aches and pains, or be one of the latter and rake in the big bucks.

   Lip service is paid to the idea that Dr. Owen needs the money to be able to contend for the hand of one of the idle rich, Helen Curtis (cool husky-voiced Lizabeth Scott), twice divorced and the daughter of the wealthy owner of the mine back in Owen’s hometown of Coalville, PA, but the good doctor seems all too willing to be seduced by money instead and the easy way to get it. That Mrs. Curtis is only a trophy to be gained along the way seems all too clear, even at the sacrifice of his own reputation. (He has to cover anonymously for the head of his practice when the latter confesses that he can no longer do surgical procedures.)

   There are a couple of interesting plot lines that go nowhere. The story that remains is as limp as yesterday’s lettuce. Well-known hardboiled author Horace McCoy ought to have been embarrassed for putting his name on this one.

   Other films in this set are The Killer That Stalked New York (1950), Two of a Kind (1951 and reviewed here) and The Glass Wall) (1953). Two of a Kind starts out in fine fashion, but in my opinion fades badly. Comments on any of these most welcome.
   

CHRISTIANNA BRAND – Green for Danger. Lane, UK, hardcover, 1945. Dodd Mead, US, hardcover, 1944. Reprinted many times in both hardcover and soft, including Carroll & Graf, US, 1990.

   Christiana Brand’s Green for Danger has been reprinted more than most mysteries, such is its reputation. The latter has undoubtedly been enhanced by the popular 1947 British film version with Alistair Sim, Leo Gena, and Trevor Howard. Now, Carroll & Graf has reprinted it in trade paperback at $7.95, and if this attractive edition garners some new readers for the book, it will have served its purpose.

   It is an ingeniously plotted tale of murder at a British hospital during an air raid, but it is equally a splendid picture of human beings who are exhausted and operating at the end of their endurance. This is a book which can speak very nicely for itself, but this version has two bonuses in the form of a fine preface by H. R F. Keating and an equally good introduction by Otto Penzler which put the book and its author’s career into perspective.

FOG OVER FRISCO. First National Pictures, 1934. Bette Davis, Donald Woods, Margaret Lindsay, Lyle Talbot, Hugh Herbert, Arthur Byron, Robert Barrat, Henry O’Neill, Irving Pichel, Douglass Dumbrille, Alan Hale. Based on the novel The Five Fragments by George Dyer. Director: William Dieterle.

Sometimes a film starts off really well, with a promising plot, a stunning female lead, and an atmospheric San Francisco nightspot. There’s also a gangster, a goody two shoes stepsister, and a duped fiancé, all of whom vie for the deeply flawed protagonist’s attention. What’s not to like?

But then all of a sudden, about thirty minutes into the movie, things just quickly fall apart, leaving the movie feeling utterly rudderless. That’s the best way to describe Fog Over Frisco.

Based on a novel by George Dyer and directed by William Dieterle (The Life of Emile Zola), the movie stars Bette Davis as Arlene Bradford, a scheming socialite and femme fatale. She manipulates her fiancé, Spencer Carlton (Lyle Talbot), into a scheme involving a criminal lowlife and some stolen government securities. Her father, head of the brokerage firm where Spencer works, thinks Arlene’s rotten to the core. Her stepsister, Val (Margaret Lindsay), however, isn’t willing to give up on her. (Full story: https://www.aktienboard.com/aktien-apps/)

Davis is nearly perfect for the part of the scheming Arlene, portraying the doomed protagonist as a liar, schemer, and classic manipulator. You kind of start actually liking her, even though you know she’s up to no good whatsoever. Then she disappears from the film for a few minutes, leaving you wondering where she went and where the film’s headed.

And then you get your answer. She’s been killed, leaving the film without its best character. In contrast to an extremely focused first half, the second half of Fog Over Frisco is one big muddled affair with stock footage of car chases, too many characters, and no Bette Davis. It’s fast moving, but it doesn’t go anywhere.

Who could the murderer be? Her fiancé, her sleazy gangster friend, and even her on-the-side love interest are all possible suspects, but it’s difficult to care. Somewhere along the way, the stepsister Val gets kidnapped, an intrepid newsman gets involved with the case, and it turns out Arlene had a secret husband who used to live in Los Angeles. If it sounds far too complex for a film with a running time of sixty-eight minutes, it’s because it is.

In conclusion, Fog Over Frisco starts off extremely promising, but ends feeling like just another convoluted and mediocre B-film mystery with some ridiculous plot devices thrown in to explain away a clumsy story. As far as the fog alluded to in the title, there’s a bit here and there, but really nothing to justify its usage beyond a marketing device.

All told, it’s an average, if not below average, suspense film with little to recommend it beyond Davis’s great, albeit abbreviated, performance.

WITHOUT HONOR. United Artists, 1949. Laraine Day, Dane Clark, Franchot Tone, Agnes Moorehead, Bruce Bennett. Re-released as Woman Accused. Screenplay: James Poe. Director: Irving Pichel.

   Without Honor was directed by Irving Pichel and written by James Poe, a distinguished writer for radio and film. (Though Poe wrote the screenplays for Cat on a Hot Tin Roof, Summer and Smoke, Lilies of the Field and They Shoot Horses, Don’t They?, he won his sole Oscar for Around the World in Eighty Days.)

   For genre lovers Poe also is especially notable as a radio scriptwriter for classic series like Suspense and Escape (perhaps his best known adaptation is the brilliant nail-biter “Three Skeleton Key,” starring Vincent Price).

   Without Honor followed the Alfred Hitchcock film Rope into theaters by one year, and the influence on the latter film on the former seems clear, with Without Honor playing as a feminized, suburbanized version of the classic Hitchcock film.

   Laraine Day stars as Jane Bandle, a San Fernando valley housewife whose dalliance with businessman Dennis Williams (Franchot Tone) has been uncovered by a private detective employed by her rat fink brother-in-law, Bill Bandle (Dane Clark), who is still angry that she once spurned his advances and has been eying his chance to exact revenge.

   Williams has come to the Bandle house to inform Jane that with a detective on their tails, it’s all over between them — he won’t divorce his wife as he had promised. A distraught Jane, who when Williams dropped in to lower the boom had been preparing shish kabob for her husband’s dinner (d’oh!), grabs a skewer and hysterically threatens to commit suicide on the spot. Williams grapples with her and ends up getting stabbed in the chest.

   After Williams collapses in the laundry room, a panic-stricken Jane shuts the door on him but finds that the worst is yet to come: her snake-in-the-grass brother-in-law has invited Williams’ wife, Katherine (Agnes Moorehead), to come over the Bandle bungalow to discuss a certain matter of marital infidelity. Oh, yes, and Jane’s husband, Fred (Bruce Bennett, aka former thirties film Tarzan Herman Brix) should be along any minute now too….

   This film has gotten its share of criticism over the years, but I enjoyed it. The performances are quite good, in my view. Tone is his customarily sophisticated self, but it’s Dane Clark who dominates the film, as a highly memorable etching in sleazeball venom. A rather censorious New York Times, which didn’t like the film, allowed nevertheless that “Mr. Clark does such a thoroughly good job in developing the revengeful brother into a full grown monster that one can almost forgive and commiserate with Laraine Day, despite her guilt of marital indiscretion.”

   Laraine Day mostly spends the film looking terrified, though she does this well. Agnes Moorehead lends an interesting performance as a not entirely unsympathetic Beverly Hills matron. Bruce Bennett is convincing as Day’s somewhat dim husband. Essentially a post-war kitchen sink women’s melodrammer, Without Honor nevertheless also offers genre fans a pleasing repast of crime and suspense.

NOTE:   This review first appeared in slightly different form on Curt’s own blog, The Passing Tramp. Check out Part One of this series on this blog here.

“Undercover.” From the COLUMBO series. ABC/Universal TV, 2 May 1994. Starring Peter Falk as Columbo. Teleplay by Gerry Day. Based on story by Ed McBain. Produced and Directed by Vincent McEveety. Created by Richard Levinson and William Link. Executive Producer: Peter Falk. Producer: Christopher Seiter. Guest Cast: Ed Begley Jr, Burt Young, Harrison Page, Shera Danese, Tyne Daly.

   Sorry for the commercial interruptions on this YouTube video.

https://www.youtube.com/watch?v=AbfSGOX_wQU

   OK, who is this character posing as Columbo? Where is the inverted mystery? The real Columbo, one properly dressed in his car with his dog does not arrive on screen until the final scene. Until then this imposter works in a police station where he shares a desk with his partner, needs his Captain’s approval to take the case, goes undercover, carries a gun and gets knocked out by the bad guy in this average TV mystery.

   And the most unforgiving flaw with this cop show posing as a Columbo episode, was I knew who the killer was while Columbo believed it was another suspect. We expect more from Columbo.

   After a man is murdered by someone searching for a piece of a photograph, the alleged Columbo goes undercover searching for the killer and the photograph that would lead to the location of the missing four million dollars from a botched bank robbery.

   The acting, directing and production values were up to usual Columbo standards. The script by Gerry Day (Wagon Train, Dennis the Menace, Murder She Wrote) had its moments such as when one character described Burt Young’s character as looking like that guy from Rocky. But there was nothing about this episode that made it special enough to abandon the series premise of the inverted mystery or the main character’s methods.

   Columbo does a story by Ed McBain, master of the police procedurals! There are so many things wrong with that sentence.

   The McBain book adapted here was Jigsaw (1970). This and the episode “No Time to Die” (adapted from McBain’s book So Long As You Both Shall Live (1976) and was the only COLUMBO episode without a murder) were the only Columbo episodes not originally written for the series. Both books were from McBain’s 87th Precinct book series.

   This episode is also available on DVD (Mystery Movie Collection: 1994-2003).

SOURCE: The Ultimate Columbo Site.

JAMES E. MARTIN – The Mercy Trap. Putnam’s, hardcover, 1989. Avon, paperback, 1990.

   James E. Martin, policeman in Norwalk, Ohio, turned special investigator for the State of Ohio and now retired, authored a mystery in 1973 (The 95 File) and now returns with The Mercy Trap, the first of a series about private eye Gil Disbro.

   Disbro comes full-grown out of the standard P.I. womb: former cop, former husband, getting his sex without commitment, a man with his own particular standards which are at once adaptable and firmly held. He walks the mean streets of Cleveland, retrieving bail jumpers for a bondsman between real jobs.

   Here a mission of mercy comes his way: wealthy contractor Howard Eberly’s adopted daughter is dying for lack of a kidney transplant, and Eberly wants her real mother or other close relative found as a possible donor. Not a quest likely to involve violence, though a twenty-nine-year-old trail with the mother’s true identity carefully hidden may prove a tad faint.

   But the traces are quickly picked up by Disbro’s capable hands, though along the way (but where? and why?) he seems to have stepped on somebody’s toes. Martin’s narrative is compelling, his sense of plot and pace sure. I’ll await the next Disbro with much anticipation.

       The Gil Disbro series —

The Mercy Trap. Putnam 1989.
The Flip Side of Life. Putnam 1990.
And Then You Die. Morrow 1992.
A Fine and Private Place. Morrow 1994.

WICHITA. Allied Artists, 1955. Joel McCrea, Vera Miles, Lloyd Bridges, Wallace Ford, Edgar Buchanan, Peter Graves, Keith Larsen, Walter Coy, Jack Elam. Director: Jacques Tourneur.

   The first time the viewer sees now legendary figure Wyatt Earp (Joel McCrea) in Wichita, he’s an absolutely miniscule figure on horseback perched on a hill off in the distance.

   A solitary man overwhelmed by nature, Earp is initially portrayed as extraordinarily reluctant to be the arbiter of law and order in the rapidly growing city of Wichita, Kansas. Earp’s also got a strong fatalistic streak, going so far as to tell a potential love interest after a bank robbery that “things like that are always happening” to him. As if he were just an object swept to and fro by the winds of History.

   Directed by Jacques Tourneur (Cat People, Out of the Past), Wichita is not only quite good Western, it’s also a superbly well-crafted character study of how frontier violence fundamentally alters the course of one man’s life. With a supporting case that includes a youthful Lloyd Bridges as a villain and Peter Graves as Earp’s brother, Morgan, the film is definitely worth a look.

   The story follows Earp (McCrea) as he journeys, both literally and metaphorically, from a lonesome figure on horseback to a married man tasked with establishing law and order in Kansas. Soon after the film begins, Earp encounters a cowboy encampment. After some initial pleasantries, his relationship with the men begins to sour – and how! – after two of the men attempt to steal from him as he sleeps. Although this initial encounter is brief, it sets the stage for what is to come.

   Earp journeys onward alone, stopping briefing in front of a signpost indicating Wichita is ahead. The sign also notably states, in all capital letters, that “Everything Goes in Wichita.” Soon two fast moving stagecoaches barrel down on him, pushing him off to the side. The first stagecoach has a banner on the back with the very same words, while the second has one that reads, “Wine, Women, Wichita.” From that moment onward, the viewer knows that the rapidly expanding city is going to be both a somewhat lawless town, but also a frontier town where a man can reinvent himself.

   Earp’s plan is to be a businessman in town. That plan goes by the wayside once he witnesses the aforementioned cowboys arrive in town and, in a drunken frenzy, shoot up Wichita, killing an innocent young boy in the process.

   That’s when Earp decides he will take the mayor up on his offer and become a U.S. Marshal. Supporting him in his endeavor is Bat Masterson (Keith Larsen). The rest of the movie revolves around not only the conflict between Earp and the cowboys, but also a growing rift between Earp and Sam McCoy (Walter Coy) over Earp’s strong-arm tactics. Earp also falls for McCoy’s daughter, Laurie (Vera Miles) in a somewhat clichéd subplot that doesn’t really do much for the film, but may have been intended as a box office draw.

   There are several scenes in Wichita that merit particular consideration. The first is Earp’s initial encounter with the cowboys. When he first meets them, he’s elevated on horseback. They are sitting. We quickly learn he’s a stoic figure, with his first words to them (and in the movie) as follows: “Howdy! My name’s Earp, Wyatt Earp.” While all of the cowboys are dressed in a dark colors, Earp is wearing a clean, bright red shirt. This marks the beginning of a personal journey that will culminate in his fight against the darkness and disorder symbolized by these ragged men.

   The sequence in which the cowboys shoot up the town, injure a woman, and kill a young boy through carelessness also is likewise worth watching closely. These events prompt Earp to accept the position as U.S. Marshal. Look for the notable, stark contrast between the bright saloon and the dark, foreboding street.

   Inside the saloon, there are many women, resplendent in a multitude of colors. Outside, on the dusty street, there are loud men in dark clothes engaging in recklessness and violence. By stepping out into the grey netherworld of the Wichita streets, Earp becomes the de facto protector of the town’s innocent women and children and a protector of Wichita’s desire for domesticity.

   Finally, there’s a harrowing scene in which the cowboys shoot Sam McCoy’s wife. Again, the killing wasn’t so much intentional, as the result of lawlessness. The gunmen ride in front of McCoy’s house, shooting into it. We see McCoy’s wife fall to the ground and bullet holes lodged in the family house’s front door. This senseless act of violence again prompts Earp into action, making the final break between Earp the businessman and Earp the lawman.

   Wichita has a lot to recommend it. With a running time of a little less than ninety minutes, the film has decent pacing and enough action to keep a viewer engaged. McCrea is generally very good in this, as is Peter Graves.

   The film’s biggest downside is the fact that the plot is just a bit too predictable. Much like in Law and Order, which I reviewed here, the hero is a U.S. Marshal who defeats the bad guys and gets the girl. What sets Wichita apart, however, is its significantly better cinematography and use of symbolism to tell the story of Wyatt Earp before he arrived in Dodge City.

BLACKOUT. Hammer Films, UK, 1954. Lippert Pictures, US, 1954. Originally released in the UK as Murder by Proxy. Dane Clark, Belinda Lee, Betty Ann Davies, Eleanor Summerfield, Andrew Osborn. Based on the novel Gold Coast Nocturne by Helen Nielsen. Director: Terence Fisher.

   Dane Clark (1912-1998) is one of those actors that you, if you are, as I am, in middle age, have almost assuredly seen on television earlier in your life, even if you don’t match the name with the face. I recall him playing an FBI agent in Season One of Angela Lansbury’s beloved mystery series, Murder She Wrote, the “Watson” in that episode to Lansbury’s Jessica Fletcher. I don’t know why I remember this character, but I suppose I have to chalk it up to Clark’s acting skills, having seen some of his other genre film work of late. He’s good!

   Dane Clark was known in the 1940s as the “B-list John Garfield,” but I don’t believe this appellation does him justice. (It’s a bit like when the great Ida Lupino is dismissed as the “poor man’s Bette Davis.”) Dane Clark was his own man. Both John Garfield (born Jacob Julius Garfinkle in 1913) and Dane Clark (born Bernard Zanville in 1912) were Jews from New York City, but Clark came of much more comfortable circumstances than Garfield, graduating from Cornell and getting a law degree before ending up in acting (after stints in boxing, baseball, construction, sales and sculptor’s modeling — he had found lawyers weren’t doing too well in the Depression either).

   In 1941 Clark married the artist and sculptor Margot Yoder (a distant relative of my family) and the next year appeared in several films (uncredited): The Pride of the Yankees (“Fraternity Boy”); Wake Island (“Sparks”); and, most notably, Dashiell Hammett’s The Glass Key (“Henry Sloss”).

   By the end of World War II Clark was getting bigger roles, including that of the Bohemian artist in the Bette Davis identical twins melodrama A Stolen Life (1946); the escaped convict who has a desperate romance with Ida Lupino in Deep Valley (1947); and, in the Oscar-nominated film Moonrise (1948), the tormented Danny Hawkins, who is in love with gorgeous Gail Russell and has, most inconveniently, killed her fiancee (played, very briefly, by Lloyd Brides). Today Moonrise pops up on lists of greatest noir films though regrettably it’s not available on DVD (you can see on it Amazon instant video, however).

   If you look around, you should be able to find on DVD some of Clark’s work as a lead actor in late 1940s and 1950s crime films (when he really came into his own as an actor), including Without Honor (1949), Backfire (1950), Highly Dangerous (1950; screenplay by Eric Ambler), Gunman in the Streets (1950, with Simone Signoret), Never Trust a Gambler (1951), The Gambler and the Lady (1952), Blackout (1954; Murder by Proxy in UK), Paid to Kill (1954; Five Days in UK), Port of Hell (1954), The Toughest Man Alive (1955) and The Man Is Armed (1956).

   I’ve recently seen several of the above films, the first being, for the purpose of this review, Blackout.

   Blackout, as I have discussed on my own blog, is an English adaptation of Helen Nielsen’s Chicago-set hard-boiled crime novel, Gold Coast Nocturne (1951). Although transferring the setting from Chicago to London is slightly awkward, to be sure, overall I was really rather impressed with this film. It is quite faithful to the novel, even using some of the dialogue.

   As the beleaguered hero, Casey Morrow, an American out to solve a murder he wakes up to discover he’s suspected of having committed, Dane Clark is excellent, as are the two lead women, Belinda Lee (sexy blonde heiress Phyllis Brunner) and Eleanor Summerfield (wisecracking artist Maggie Doone). A couple crucial supporting performances could have been stronger, but overall I would quite recommend this film.

       TO BE CONTINUED…

Editorial Comment:   This review first appeared in slightly different form on Curt’s own blog, The Passing Tramp.