MRS. O’MALLEY AND MR. MALONE (1950)

After an opening theme song that sounds like it was written for a TV sitcom, we see the host of a radio quiz show call Hattie O'Malley (Marjorie Main), a Montana widow, and when she guesses the name of a Phantom Tune, she wins $50,000 and a train trip to New York City to get the money. (The song she identifies, "Possum Up a Gum Stump," is apparently an actual traditional fiddle song. It was the song her late husband was singing when he got drunk and died trying to fly.) On the train, she reads an article in a true crime magazine about the exciting exploits of Chicago attorney John J. Malone. Meanwhile, in Chicago, Malone (James Whitmore), drunk and penniless after a gambling binge, wakes up in the city morgue with a hangover. He discovers that Steve Kepplar, a former client, has just been released from Joliet Prison on parole (thanks to Malone) and will be hopping a train to New York, as it happens, the same one that Hattie O'Malley is on. Malone decides to get on that train in order to collect the fees that Kepplar owes him. Also on that train following Kepplar: detective Tim Marino who thinks Kepplar will head straight for the missing $100,000 from his bank robbery; Connie, Kepplar's ex-wife, who wants her alimony payments; Brynk, Kepplar's former business partner; and Lola, Kepplar's new gal. Malone meets Hattie at dinner and they hit it off well enough that she gets entangled in the attempts to find Kepplar, who got on the train but hasn't been seen since. Eventually there are dead bodies which appear and vanish, and then have to be moved, leading to the movie's best line: as Hattie and Malone walk a corpse down the train aisle past another passenger, she says, "Come now, mother, hardly a quart in you and you stagger around like you were drunk."

This second-feature comic mystery was an unexpected delight. I do like Marjorie Main but I'm more used to her in supporting parts rather than as the star (I saw one Ma and Pa Kettle movie with her so many years ago I have no memory of it), so I wasn't sure about this. I'm not especially a fan of craggy-faced James Whitmore who usually does fairly dramatic roles, but he does a nice job being light on his feet with good comic timing, and he has good chemistry with Main. They make a fun pair, and it's too bad this didn't become a series of films. The interesting backstory is that this was based on a one-off short story collaboration between mystery writers Craig Rice (and her lawyer character John J. Malone) and Stuart Palmer (and his older lady character Hildegarde Withers). Withers had been featured in a series of B-films in the 1930s and MGM ran into copyright issues so they changed the character's name and background. This is sometimes referred to as a screwball comedy, though it's not antic or romantic enough for that, but it is amusing and fast paced, and has a great supporting cast. Ann Dvorak (Connie), Dorothy Malone (Lola), Fred Clark (the detective) and Phyllis Kirk (in the small role of Malone's secretary Kay) are all great fun. Smaller roles are filled by Douglas Fowley, Clinton Sundberg and Willard Waterman. Trivia note: Clark and Waterman would be standouts in AUNTIE MAME many years later, Clark as Mame's nemesis Mr. Babcock and Waterman as Claude Upson, maker of dreadfully sweet daiquiris. Great fun. [TCM; also on Warner Archive DVD]

PURSUIT TO ALGIERS (1945)

Sherlock Holmes and Dr. Watson are supposed to be heading to Scotland for a fishing vacation. As they stroll through the nighttime city streets, chatting about the recent theft of the Duchess of Brockdale's emeralds, they are followed by mysterious men who drop coded messages which lead them to a meeting with the prime minister of Rovenia. The king has just been assassinated and his son Nikolas, who is in London, needs safe conduct back to his country. Plans are made for Holmes to fly to Algiers and from there to Rovenia, but there is no room for Watson, so he takes a passenger liner. On the ship, Watson hears news that a small plane has crashed on its way to Algiers, and he assumes Holmes is dead, but of course, he's not: having his own suspicions, Holmes has arranged for Nikolas to accompany him on the liner. The problem now is that practically everyone they come into contact with seems suspicious. There are two sneaky looking men skulking about, mumbling about a king; Sheila Woodbury, a singer who becomes flustered when she learns that Sherlock Holmes is on board, and who may have tried to push Nikolas, posing as Watson's nephew, overboard in the fog; Agatha Dunham, an older socialite and health nut who has a revolver and wants to throw a big dinner party on the ship; Sanford, a porter who seems to be skulking about everywhere. When the ship makes an unscheduled stop in Lisbon, three more men get on: the sinister looking Mirko, the nondescript Gregor, and the burly mute Gubec. Holmes catches Mirko in the act of trying to throw a knife through his window and slams Mirko's hand in the porthole, injuring him. Eventually, all is sorted out, strange behaviors are explained, villains are thwarted, and even the stolen emeralds from the first scene of the movie are recovered.

The tenth film in the Universal series, after THE WOMAN IN GREEN, is often looked down on as the worst of the batch, but I'm not sure why. The main thing I have against it is that it is less a detective story than a bodyguard story: Holmes is hired not to do detecting but to guarantee safe delivery of a person. Of course, he does do some detecting eventually, but the mysterious tone of many of the previous films is gone here, except for a couple of scenes set in fog. There is no crime mastermind, like Moriarty or the Spider Woman, to contend with. There is no Lestrade or Mrs. Hudson. However, there is the enclosed area of the ship, which lends this some of the cachet of a train movie. There is also Martin Kosleck, who made his name playing Nazis in the 1940s, who is very good as Mirko. Marjorie Riordan, as Woodbury, gets to sing, as does Nigel Bruce (Watson) who gives a brief but effective performance of "Loch Lomond."  Rex Evans (Gregor) and Morton Lowry (Sanford) are fine; Gubec is played by Wee Willie Davis, a pro wrestler. Of course, Rathbone is Rathbone (pictured with Bruce), soldiering on even though he was certainly no longer challenged by the role. Watson relates the unpublished Holmes tale of The Giant Rat of Sumatra (a tale mentioned but untold in the Doyle canon), though we only hear the beginning and end. There is a nice twist that leads to a satisfying ending. The closing line is not patriotic or inspirational, but fun. Watson is upset that he was kept in the dark about a secret, and Holmes explains that Watson has too honest a face to keep such a secret, then says, "If you ever decide to take up another profession, never think of becoming an actor!" [DVD]

ROME ADVENTURE (1962)

At the Briarcroft College for Women, young librarian Suzanne Pleshette has been called before the board because she loaned a student her own personal copy of the racy novel Lovers Must Learn after the college cancelled their order. Pleshette stands up for herself and quits, deciding to head off on an open-ended trip to Rome, hoping to learn a bit about life and love herself. (As is implied over and over, she is still a virgin.) On the boat, she bonds with a nerdy young scholar (Hampton Fancher) who installs himself as her keeper, though he could use a keeper himself, and a dashing middle-aged Italian (Rossano Brazzi) who seems interested in teaching her a bit about life and love. She and Fancher move into a boarding house where they meet Troy Donahue, an American student who seems off-putting at first, though we know it's partly because his sexy, sophisticated lover (Angie Dickinson) has just left him. Pleshette gets a job at a bookstore (and gets good life advice from her boss, Constance Ford) and lets Brazzi flirt with her a bit, telling him that she is just bursting with love, calling it a "natural resource that has never been fully explored" (yes dear, we know you're a virgin) but saying she can't give herself over to love until she hears bells ringing, and with Brazzi, all she hears are tinkles. Slowly, Donahue and Pleshette warm to each other when he takes her sightseeing around Rome. Eventually they take a week-long holiday to see the Italian countryside, staying in a hillside chalet, but she remains pure (she's a virgin, you know). Back in Rome, they try to hide their relationship from the others in the boarding house, and when Dickinson shows up, dressed to the nines and ready to start over again, Pleshette gets gloomy and turns to Brazzi to lose her virginity. But knowing what's been going on, he's too gentlemanly to take advantage of her. She decides to go back to the States; will Donahue come to his senses and realize he makes Pleshette hear bells?

One online reviewer notes that, despite much talk about sex (and virginity), and a very sexy seduction scene during which Donahue runs a feather softly all over Pleshette's face in close-up, this isn't really a sex comedy, nor is it quite a melodrama. In its tone, it's a romantic comedy with dramatic interludes, though in its form, at least in the middle of the movie, it's actually more of a travelogue with lots of shots of Roman and Italian sights. My favorite sightseeing scene is when, in Verona, Pleshette stands on a balcony like Shakespeare's Juliet while Donahue recites Romeo's lines below, much to the amusement of a crowd of tourists. Pleshette, in her first starring role, is quite good, despite some of the drippy dialogue she has to say. Donahue is at the height of his blond handsomeness, but I always think he comes off as a tad unwholesome, like his shiny smile is hiding decadent desires. Frankly, I liked Hampton Fancher better; darkly handsome with a passing resemblance to Anthony Perkins, his character is presented as pleasant but boring. He is mockingly called an "Etruscanologist" but he truly loves his work, and I was sorry his role wasn't expanded, though he has a fun scene as Pleshette's escort on a double date with Donahue and Dickinson which ends badly. Brazzi is fine, if his character is predictable and not quite as sexy as he should be. Dickinson's role is important, though fairly small, but she makes every moment count as one of the most unlikeable bitches in 60s cinema. We're led to believe that her character is both slutty and frigid, I guess meaning she's all come-on and no delivery. Jazz trumpeter Al Hirt has a weird cameo playing an unflattering version of himself, starting a fight in a small jazz club. There is a nice musical interlude with Emilio Pericoli singing "Al Di La"; his version made the Billboard top 10 in the wake of the film. A nice enough 60s romance which doesn’t take itself too seriously. Two last bits of trivia: 1) Hampton Fancher is now better known as the co-writer of Blade Runner and its 2017 sequel; 2) the bookstore set is the same set used for the River City Library in The Music Man. Pictured are Pleshette and Fancher. [TCM]

BLACKOUT (1954)

At a jazz club in London, American Casey Morrow (Dane Clark) is drowning his sorrows, broke and drunk because a promised job failed to materialize. An attractive blonde approaches him and offers him a job: marriage. She gives him a wad of cash and asks him to marry her that night. The next thing he knows, it's morning: he has a mighty hangover, a spot of blood on his coat, and he's in the Chelsea apartment of artist Maggie Doone who let him in at 2 a.m. when he was pounding on her door. Maggie is wary but offers to help, and Casey notices a painting of his apparent wife in her apartment. Casey leaves and immediately sees a newspaper headline noting that the wealthy Darius Brunner was found murdered, and Casey recognizes his missing daughter Phyllis as the woman he apparently married the night before (and whose cash he still has in his coat pocket). Back at Maggie's, she says that Phyllis had modeled for her, and that Phyllis is supposed to marry the Brunner family lawyer Lance Gordon. Thinking that Phyllis may be trying to frame Casey for her father's murder, Maggie agrees to help Casey figure out what's going on. Soon Phyllis shows up, insisting the murderer is Lance; she pulled off her drunken midnight marriage to Casey in order to get out of marrying Lance, whom she is sure just wants her money, especially now with Darius dead. From here, plot twists build. Lance is responsible for investing Mrs. Brunner's money in charities that may be bogus; there may be a blackmailer involved; Casey is almost hit by a suspicious car in the street. Then when Phyllis goes missing, Casey finds her in a cozy living room scene with her mother and Lance, and the marriage is still on for Christmas Eve. Who, if anyone, can Casey trust?

This is noir in a fairly light tone. I never really feared for Casey's outcome, though I must give a bit of a Spoiler here to note that I was disappointed that Casey doesn't wind up with Maggie at the end, when it seems that's what we are being primed for. He has much more chemistry with Maggie (Eleanor Summerfield) than with Phyllis (Belinda Lee, pictured with Clark), and Maggie treats him with more respect than Phyllis ever does. So even though it doesn't end that way, I choose to imagine Casey and Maggie walking into the sunset at the end. Dane Clark is like a more innocent and likable John Garfield, and Clark never hits a truly dark low point like Garfield (or other noir leading men) might. In fact, a family reunion scene with Clark and his estranged mom and brother, who own a pub, starts out badly but their problems are resolved quickly. There are plenty of traditional noir elements: the smoky bar, the drunken amnesia, the question of who can be trusted, some betrayals (perceived and real), and though Clark may not be as rough and tough as Garfield or Bogart or Alan Ladd, he does a nice job here. Lee looks the femme fatale part but comes off a bit blandly especially compared to the more interesting and complex Summerfield (who I just saw in her last acting role, a 1998 episode of Midsomer Murders). Favorite line: when Clark asks Summerfield why she has stuck by him, she replies, "I lead a dull life—I want something to put in my diary." [TCM]

THE WOMAN IN GREEN (1945)

Opening narration by Inspector Gregson lets us know that Scotland Yard is stumped by a series of murders, considered the worst since Jack the Ripper—young women are being killed and their right forefinger cut off. Gregson meets with Sherlock Holmes at a club called Pembroke House to discuss the murders. Holmes notices Sir George Fenwick at the club in the company of a beautiful blonde named Lydia. (When Gregson asks if the woman is his daughter, Holmes replies, "Don’t be so naive, Inspector"; when the two leave together and Holmes wonders where Lydia's taking Fenwick, the inspector replies, "Don’t be so naive, Holmes.") Back at her place, the two sit on a couch having a nightcap, staring into a water bowl with floating flowers as he seems to slip into a trance (pictured). The next morning, Fenwick wakes up disoriented, in a cheap boarding house. He sees headlines about another finger murder, then discovers a severed finger in his coat pocket. After Fenwick goes to see Lydia, Fenwick's daughter visits Holmes after she witnesses her father burying a human finger in the backyard. By the time they get to Fenwick's, he has shot himself in his study, a Pembroke House matchbook in his hand. At 221B Baker Street, Dr. Watson is called away and the evil genius Professor Moriarty, assumed to have died in Montevideo, shows up, perhaps holding Watson, to warn Holmes away from the finger murders. Later, Watson shows up unharmed, and Holmes figures out what Moriarty is up to: he and Lydia are working together to hypnotize rich men into thinking they have committed murders (by planting the fingers on them while drugged or in a trance), then blackmailing them. There is an attempt made on Holmes' life from across the street and Holmes and Watson go to a meeting of the Mesmer Club to bone up on hypnotism, which Watson is very skeptical of. In the end, Moriarty seems to have the advantage over a hypnotized Holmes who may well plummet to his death from a high building unless Watson and Gregson can stop him.

This ninth film in the present-day Holmes series has great potential but it falls short of its predecessor THE HOUSE OF FEAR. It's not as atmospheric and its script doesn't quite give it room to breathe, squandering to a degree the talents of Henry Daniell (as Moriarty) and B-femme fatale Hillary Brooke (as Lydia). Both show promise early on, the icy Lydia in her scene with Fenwick (Paul Cavanagh), the brusque Moriarty in his first scene with Holmes, but the 68-minute movie at various times both drags and feels rushed, making Brooke and Daniell (each making their third appearances in the series) less effective than they should be by the end. The plot, not based directly on Doyle, is solid, and draws on the plot of the earlier SPIDER WOMAN. Daniell is not quite as wicked as George Zucco was in ADVENTURES, but he's an improvement on Lionel Atwill in SECRET WEAPON. Nigel Bruce is fine as Watson, but Matthew Boulton is dreadfully plain as Gregson—I'm guessing Dennis Hoey was otherwise engaged and couldn't reprise his role as Lestrade. Certainly watchable, but a lesser effort with maybe a lower budget that previous films. [DVD]

SWEET SAVIOUR (1971)

In a dark room, a group of robed cultists watch a naked woman, laid out on an altar, go through an initiation ritual which climaxes in the bearded hippie cult leader, Moon (Troy Donahue, at left) climbing on top of her for sex as he says, "You are me and I am you," and the group chants, "We are all one." He later refers to the cult as a "family of true democracy," though we never see any democracy enacted. The next scene, shot in the style of an early Andy Warhol film, has the cult members hanging around in a small apartment, smoking and reading and chatting and making out. The purpose of the cult is a bit vague; they talk about God but they also want to make sure that the new member is "cleansed" of her middle-class morals. Two of the women offer a pretzel vendor (also their drug dealer) a blowjob for a discount on drugs. He takes them up on the offer, and he seems to enjoy himself, though one of the women takes a good, healthy spit afterwards. We get a little backstory about Troy who was an evangelist like his dad (one of his women is sure that Moon is Jesus) and had to endure beatings by his father. Now Moon gets his followers excited about having been invited by a famous actress to a swingers party where they'll provide some "unwashed" entertainment for the "straight pig animals," as Moon calls the upper-class partygoers who are anxious to engage in some kinkiness. At the party, after some awkward small talk, they get down to something of an orgy, with various sexual encounters accompanied by a sappy easy listening song called "It Looks Like Love." When all are sated, the cult members begin killing the swingers one by one. 

This is a grimy, junky B-movie, originally rated X, though both the sex and violence are tamer than they would be today. Somewhat surprisingly, Troy Donahue is not bad. Though he never comes off as terribly charismatic, he does take his role seriously, which is more than anyone else on screen does; to be fair, they mostly seem like amateurs, and none of them went on to have long film careers. Obviously based on the Charles Manson murders (the film was re-released as THE LOVE-THRILL MURDERS), even going so far as having the actress be pregnant as Sharon Tate was, it deviates a bit in the end with Moon and his cult getting away with the murders. The last shot is of Moon, riding his motorcycle the next day, flipping off the skyscrapers of Chicago. The movie seems to present two reasons why it should be taken seriously: 1) it shows that the rich "straight" people are hypocrites and just as messed up as the hippie cultists; 2) Moon's sociopathy comes from a deeply messed-up childhood. But neither theme is developed very much. One of the "straights" is an offensively stereotyped gay man named Fritzi who pretends to be a transsexual woman in order to bed one of the studly cultists. The apartment scene goes on far too long, as does the set-up to the would-be orgy. Ultimately, it was hard to sit through due to both tedium and its cheap sleazy look. In interviews at the time, Donahue was quoted as saying that the film would beat out Love Story at the box office. I don't think that prediction came true. [YouTube]

THE HOUSE OF FEAR (1944)

Drearcliff House sits on a cliff above the sea on the coast of Scotland. Owned by Mr. Alastair, the house is currently home to himself and six other men who call themselves the Good Comrades. One night as all are seated for dinner, the housemaid brings an envelope she found under the back door to the addressee, Mr. King. Inside are seven orange pips (or seeds). The men are puzzled but not overly concerned until the next night, King's car plunges over a cliff and he is burned to death. A few nights later, a man named Raeburn gets an envelope with six pips and he is soon found drowned in the sea, his body mangled. At this point, an insurance man named Chalmers goes to London to seek the help of Sherlock Holmes. The men, all single, retired, and wealthy, have named each other as estate beneficiaries, and Chalmers worries that someone is trying to kill them all off for their money. Holmes and Watson head off to Drearcliff, where some of the men, like the owner Alastair, are more welcoming than others (the burly sailor Simpson, the true-crime fanatic Merrivale, who killed his bride years ago but was acquitted of murder). Some threats pop up that may be red herrings, like a poisoned needle placed on a chair and a wine glass that has the scent of bitter almonds, but still, the pips keep turning up and, despite all precautions, men keep dying in gruesome fashion—the house is associated with a saying that no man from the house "ever goes whole to his grave." Inspector Lestrade is called in from London, and the death of the village tobacconist might be related to the deaths at Drearcliff. When Watson goes missing, Holmes must solve the mystery if any of the Good Comrades are to remain alive.

This, the eighth in the Universal Holmes series after THE PEARL OF DEATH, is credited as being based on the Doyle story "The Five Orange Pips," but it really only borrows the title device, and is more related to Agatha Christie's And Then There Were None in which people in an isolated house die one by one. Like SHERLOCK HOLMES FACES DEATH, this has an effective Gothic atmosphere and a tricky plot. Basil Rathbone (Holmes), Nigel Bruce (Watson, who is a little less doddering than usual), and Dennis Hoey (Lestrade) are very good, and the supporting cast is a notch above average. Paul Cavanagh attracts the most attention as the suspicious Merrivale, Aubrey Mather is fine as the friendly Alastair (could his jovial appearance be just a front?), and Holmes Herbert and Harry Cording are good as two of the last remaining Comrades. Gavin Muir (from FACES DEATH) is fine as Chalmers who is only in the beginning and ending. There is no potential femme fatale except for Sally Shepherd as the severe (and also suspicious) housekeeper—imagine a slightly mellower Mrs. Danvers from Rebecca. There are secret passages, dark shadowy rooms, and is a vigorous thunderstorm at the climax. In my estimation, this is certainly one of the best of the Rathbone films, even if it does slow down a bit in the middle. Pictured are some of the Good Comrades with Holmes, Watson, and Lestrade at the end of the table. [DVD]

THE LETTER (1940) / THE LETTER (1929)

One night on a Malaysian rubber plantation, sleeping workers hear a gunshot from the house of the foreman, Robert Crosbie. More shots follow and we see Crosbie’s wife Leslie (Bette Davis, pictured) follow a man staggering down the steps to collapse on the ground as she empties her pistol into him. She seems in a state of shock. Robert (Herbert Marshall), his attorney Howard Joyce (James Stephenson) and the police are sent for. Calmer now, she tells a very coherent story: Geoff Hammond, an old friend, stopped by, unannounced and a bit drunk. He continued drinking as he declared his love for Leslie. She tried to discourage him but eventually he assaulted her. She grabbed a pistol from a drawer and shot him six times, not quite aware of what she was doing. Though she'll have to be arrested and charged, Howard foresees an open-and-shut case of self-defense. Even the policeman agrees; both men seem charmed and a bit in awe of Leslie. However, Howard's native clerk Ong (Victor Sen Yung) complicates the case when he comes to Howard with news of a letter that Leslie sent to Hammond on the night of the murder, saying she was desperate to see him. The letter is in the possession of Mrs. Hammond (Gale Sondergaard), a notorious Eurasian woman. Smelling a blackmail attempt, Howard asks Leslie, being held in Singapore before her trial, about the letter. At first she denies having written it, then admits she did, but only because she wanted Hammond's advice about what kind of gun to buy Robert for his birthday. Howard doesn't believe her but, against his better judgment, agrees to buy the letter for $10,000, all the money that Robert has in savings. Mrs. Hammond demands that Leslie deliver the money herself, a degrading prospect made even worse when Mrs. Hammond throws the letter on the floor and makes Leslie pick it up. All this is kept from Robert until after the trial when the truth about everything is finally exposed, leading to tragedy.

Based on a story and play by W. Somerset Maugham, and not quite on the level of something like CASABLANCA, this is a fine example of the Hollywood studio system at its best. All the performances are great: Davis as steely but conniving, Marshall as hoodwinked and ultimately devastated, Yung as coldly practical, and Sondergaard who creates a fascinating character in only a few minutes of screen time and almost no dialogue. The underplaying Stephenson is a standout as a conflicted man who risks his legal reputation to make sure Leslie goes free. William Wyler directs his actors well, and with cinematographer Tony Gaudio, crafts an exotic looking visual style with an atmospheric use of shadows and moonlight. The opening, Bette Davis coldly firing away on the front porch at Hammond (whose face we never see), is a classic. 

The 1929 version plays out a bit differently. For starters, the first ten minutes presents what remains unseen in the 1940 film, so we know unambiguously what led up to the shooting. We see Robert (Reginald Owen) leave for an errand in Singapore, after which Leslie (Jeanne Eagels) sends a houseboy off with the letter summoning Hammond (Herbert Marshall, who was Robert in the later film). We learn they've been lovers for some time but he thinks she's gotten too clingy, and he wants to end it, especially since he's got a hot Eurasian mistress, Li-Ti. When Leslie threatens suicide, Hammond says he's sick of the sight of her and starts to leave. She then shoots him dead (which is where the 1940 movie begins). The rest is pretty much the same until the end. Being a pre-Code film, this version can let Leslie get off more or less unpunished, whereas Bette Davis has to meet a bad end. Both versions allow Leslie to deliver the famous line from the play, "With all my heart and soul, I still love the man I killed!" Eagels' delivery is more effective because it's the last shot of the movie; the Davis version goes on for a few more minutes to allow a Code-sanctioned ending. Eagels (pictured with Marshall) was a well-known stage actor with a reputation as difficult. She only made three sound films before dying of a drug overdose just months after the release of this movie; she was only 39. Her acting here is fairly stagy, occasionally with a Billie Burke-style tone in her voice, and she has a couple of moments when she seems to be searching for her lines, though she definitely brings the melodrama. Marshall, usually a bit stodgy (as he is in the 1940 film), is nicely scruffy and decadent here. The movie, an early talkie, suffers from a lack of any background music. Though I liked seeing the circumstances of the murder in full here, the 1940 film, thanks in part to the opening, is a classic that can't be beat. [DVD/Criterion Channel]

THE PEARL OF DEATH (1944)

On a passenger liner heading for Dover, a man hides the valuable Borgia Pearl in a corner panel of his suitcase and then is called to the radio room for a message. Naomi Drake gets into his room and steals the pearl. In Dover, she hides it in a camera which she gives to an elderly minister to take through customs, as he is less likely to have his property searched. Later, she takes the camera to her boss, Giles Conover, but instead of the pearl, there's a taunting note from Sherlock Holmes who, disguised as the minister, has saved the pearl. Holmes, Dr. Watson and Inspector Lestrade deliver the pearl to the Royal Regent Museum where the museum curator shows them how a new electrical alarm system will protect it. Holmes, calling electricity "the high priest of false security," shows them how easy it would be to disarm the system, and while the alarm is off, Conover manages to steal the Borgia Pearl. He is caught not far from the museum, but he has already disposed of the pearl somewhere. As the press blames Holmes for the theft, Holmes investigates the murder of a man whose back was broken, with shattered porcelain figures scattered about the room. This may involve the re-emergence of the murderous Hoxton Creeper, a facially deformed man who was part of Conover's gang but has been thought dead. More murders with similar destruction occur and Holmes figures out that Conover, while being chased, had entered a ceramic shop and deposited the pearl of one of six newly made Napoleon busts which were then sold to customers. Conover and Drake have been tracking down the busts to find the pearl. Soon, Holmes tracks down the last recently bought Napoleon bust, but Conover also knows where it is. Can Holmes outwit him (and Drake, and the brutish Creeper) and save the pearl?

The seventh Universal present-day Holmes adventure is based loosely on the Doyle story, The Adventure of the Six Napoleons. The plot is interesting and the presence of Rondo Hatton as the Creeper gives added interest. The distortion of Hatton's face was caused by acromegaly. He had been a reporter but took small roles in several movies until this one made his Creeper character famous. He played a similar character in a few more movies before his death in 1946, actually getting top billing in THE BRUTE MAN. Hatton's presence (we don't actually see his face until the last ten minutes) helps detract from the weak performance of Miles Mander as Conover. Mander had a long career as a character actor, usually playing passive, milquetoast types, but he just doesn't cut it as an ambitious villain who is supposed to rival Moriarty in his crime career. For me, he brings the film's energy to a halt every time he appears. Evelyn Ankers, as Drake, is fine but underused. Basil Rathbone and Nigel Bruce (pictured) are rather like old friends by now, as are Dennis Hoey (Lestrade) and Mary Gordon (Mrs. Holmes). Some critics name this as one of the best in the series, mostly because it continued the trend away from wartime propaganda and toward Doyle-style mysteries, and also has a number of people in disguises, though it moves away from the creepy atmosphere of the previous film, THE SCARLET CLAW. I liked it but feel it's a notch below some of the others, though I must say I enjoy the fact that Holmes is responsible for the pearl's theft from the museum. In some of the films, any mistake he made like this would have been part of his plan, but this one is not. [DVD]

THE ASSASSIN (1952—aka VENETIAN BIRD)

Edward Mercer (Richard Todd, pictured), who works for an American relief society, arrives in Venice on an assignment: track down Renzo Uccello, an Italian resistance fighter who saved the life of an Allied soldier in WWII, and give him a reward from the soldier's family. He has placed an ad in a newspaper asking for information on Uccello, and he gets one reply from a man named Carlo. They meet at a church but two thugs arrive and attack Carlo. Mercer takes him to his hotel room but eventually Carlo ducks out through the window, seemingly no longer willing to share what he knows. Mercer finds out that Carlo has a job at at an art gallery in a old mansion run by Count Boria (Walter Rilla) but is stonewalled there, though he does make contact with Adriana (Eva Bartok), Uccello's former girlfriend, who says that Uccello died at the end of the war. Circumstances lead Mercer to believe that Uccello planted his identity papers on a dead body in order to disappear, and he keeps looking for Uccello, to the dismay of almost everyone around him, including the local police chief (George Coulouris). Almost the only person on his side is Rosa, an old acquaintance from the war days. Meanwhile, the big news in town is a visit from a controversial political figure named Nerva, and when Mercer overhears a conversation between Boria and another man implying that they are conspiring to assassinate Nerva, Mercer suspects this may have some tie to Uccello, and he's right. 

This is a decent thriller which could be made leaner and better paced with the excision of a couple of characters. Todd is excellent as the man in over his head who is always just a beat or two behind the bad guys, and it's not always easy to tell who's a good guy and who's a bad guy. It's also not clear why Mercer stays on in Venice after he hears that Uccello is dead, except there wouldn't be much of a movie if he did leave. Rilla, Bartok and Coulouris are all very good, as are John Gregson as a cop and Margot Grahame as Rosa. But it's the Venice location shooting that is the real star of the movie. I don't like to use the old saying that the location is like a character, but here it's close to being true. The gallery in particular is nicely atmospheric. I suspect that most of the interiors were shot on sets in England, but they are integrated nicely with the Venice footage. The American title (The Assassin) is bland but it fits the story; the original British title, Venetian Bird, is more colorful and refers to a restored painting that provides a clue for Mercer, but it's really no more descriptive of the narrative. Many viewers compare this to the famous Carol Reed thriller The Third Man, and some even prefer this, as I do—I always get bogged down in the draggy plot and the irritating soundtrack of the Reed film. The tension slackens a bit in the last third, but a climactic rooftop chase ends things well. On DVD in the British Noir boxed set, which means that it's not really noir, though the general feeling is close to genuine noir. [DVD]