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House of Dracula (1945)
Not what it could have been...
Saw this again recently, and it really isn't better after repeated viewings (as is Son of Dracula). I like John Carradine as a rule, but not as the Count; as has been lamented many times, what a shame that Lugosi wasn't used. The script is also 2nd rate, and most of the sets have been re-treaded too many times. As far as the rest of the cast, it's nice to see Lionel Atwill as a police inspector again, but he can't match the first time he essayed the role in Son of Frankenstein, wooden arm and all. Onslow Stevens is okay as "the scientist" who turns evil at night, but an actor like George Zucco would have been better, complete with crackling-voiced rants and bulging eyes. Even as a hunchback, Jane Addams is cute, and Martha O'Driscoll is a stunner when she wears her hair down. Glenn Strange hardly has any footage as the Monster, perhaps mercifully so. It is good to see Lon Chaney, though, playing that role that he made his own, although there is no explanation as to how he came back from the dead after House of Frankenstein. (After viewing this, I had to watch Chaney's opening scenes in A&C Meet Frankenstein, just to see him again in dark suit and shirt, along with light tie; great color combo on Lawrence Talbot. Of course, in this film, it is never explained how Talbot re-gained the curse.) And as has been pointed out, what a let-down that all three monsters never appear on the screen at the same time. 6 stars at the most.
The Breaking Point (1950)
One of Garfield's best portrayals, and a heck of a good film.
SPOILERS-- Based on Hemingway's To Have and Have Not, the story was first brought to the screen in 1944 starring Bogart and Bacall, and was partially adapted for Key Largo (1948), again with Bogart and Bacall. This version has not been as available as other Garfield films, but finally has re-surfaced. It is much closer to the novel, than the '44 version, although the latter is an excellent film, largely due to the two leads. In this version, Garfield plays a WWII Navy vet who only knows how to do one thing well, and that is be a skipper. He desperately loves his plain, but faithful wife, and adores his two small girls, but is frustrated with his inability to provide for them adequately chartering his boat to tourists. He sort of gets involved with "good-time girl" Neal, and additionally, through the machinations of crooked attorney Ford, with transporting some illegal Chinese immigrants (resulting in Garfield killing a middle man who pulls a gun on him), as well as some gangsters who rob a race track and need someone's boat to help them escape. Caught in a moral dilemma, Garfield's character attempts to redeem himself by overpowering the gangsters and receiving the reward money, but it doesn't quite end like he planned. (The scene where Garfield's shipmate, Juano Hernandez, in a very smooth performance, gets gunned down by a gangster, is sudden and vicious enough to jolt one's nerves.) The second-to-last scene with Garfield and Thaxton, as the latter tries to convince her husband that his shot-up arm needs to be amputated or he will die, is a high point in both of their careers. (A shame that Garfield would be pass away in less than two years after the film's release, the victim of blacklisting.) And in an unusual ending motif, the last we see is a slow tracking shot of Hernandez' little boy, waiting at the docks for the father who will never come back...8 out of 10*s.
Open Secret (1948)
Another interesting B from Eagle-Lion
Tight story on anti-Semitic/anti-"Foreigner" group operating in what appears to be part of NYC. Ireland discovers that his murdered Army buddy was somehow involved with said group, and tries to get to the bottom of it. In the process, he discovers some incriminating photos of local resident bigots, and nearly gets greased himself (of course). Novel to see Leonard playing a good guy (a police detective) who, being of Italian ancestry, has a personal interest in ridding the nativist bigots who terrorize his town (in the last scene, he actually walks down the street with a grin on his face).
Two best pieces of dialog:
Leonard to Jewish camera store owner Strauss (after beating up town bigots)- "Hey, Harry, what'd they to to you? Strauss- "Did you see the other guy? Take it easy on Ralph; I think the kid learned by now." Ireland- "Hey, you wanna see a doctor?" Strauss- "Doctor? I never felt better in my life."
Leonard on phone, talking to a detective about catching gang's leader, Phillips- "This is Frontelli speaking. Send the wagon to 531 Parker, back alley...Phillips. (Chuckles slightly under his breath). Yeah, he was playing Hitler, but in the wrong precinct."
7 out of 10 *s.
Murder Is My Business (1946)
Somewhat saved by Beaumont
For those who have never seen Hugh Beaumont outside of Leave It To Beaver, here's a chance to do so. Beaumont made quite a few mystery/detective films before hitting the small screen, and his role a Michael Shayne is typical of many of his portrayals. Here he is a slightly-wisecracking private dick who likes to leave trails of peanut shells wherever his cases take him. He's sort of a cross between Dick Powell's version of Philip Marlowe, and Dick Powell's radio character of Richard Diamond (if you can picture that). The production values are what you would expect from PRC, and yet I've seen worse. The storyline leaves little room for suspense, with a not too-unpredictable ending. Still, Beaumont's pleasant personality, some classic autos, and a couple of classy-looking '40s dames make this a watchable entry in the Michael Shayne series.
Kansas City Confidential (1952)
Exploding! Like a gun in your face!
What else can be added regarding this solid noir? This was the first time I had seen Payne in a "serious" role, and I was not disappointed. All of the heavies were good, but I particularly liked Van Cleef and Brand (the latter with his magnificently pock-marked face). Loved the opening scene where the women in New Look dresses, and the gents with suits and fedoras are waiting in front of the bank. My favorite piece of dialog is when one cop says to Payne's character, Rolfe, "... left school to enlist with the engineers. Pretty good soldier too! Bronze Star, Purple Heart!" Rolfe answers, "Try and buy a cup of coffee with them!" Kind of sums up the way many noir male characters felt about the cards that life had dealt them. Thoroughly enjoyable film!
Fear in the Night (1946)
"Bones" in a pair of Hollywood-waisted pants...
Fear in the Night reminded me of a PRC horror flick by the way it immediately cuts to the chase and virtually drops the plot on your lap. While the film's no minor gem (although based on a Cornell Woolrich story), it was a lark to see Kelley at age 27, in a rather ill-fitting suit, wearing a large-brimmed hat (which accentuated his kind of homely mug), and hearing him spout lines in an often tinny, whiny voice. (I kept wondering, though, if the film would ever mention if Kelley's character had been in the service; this was just two years after the war, mind you.) It was also great to see Los Angeles City Hall in one of the scenes (looking almost the same as it does today). Co-star Paul Kelly (predictably) stole just about every scene he was in, and the female supports (Ann Doran and Kay Scott) had little to do but react to what was happening around them. Without giving any of the plot away, I'll add this: Look closely towards the end for an early 40s auto that, in the next shot, turns into an early 30s model (it's a rather dark cutaway, but you can tell)!