Musical Monday with Richard Marx

This week's Musical Monday selection is a tragic tale, told through song and an excellent music video. It might have been perfect--since it's artfully done and features real actors, since it's as much a short film/silent movie as it is a music video, but it suffers from a flaw all-too-common with videos from the time it was made.

Check it out... and then read more about what I view as flaws in this work if you feel so inclined. (Otherwise, I wish you a good week... and I hope your circumstances are better than those the characters in "Hazard" find themselves in...)


Hazard (1992)
Starring: Richard Marks, Robert Conrad, Renee Parent, and Jennifer O'Neill
Director: Michael Haussman
Rating: Seven of Ten Stars

At some point during late 1980s and early 1990s, it seems someone decided that it wasn't enough for some music videos to be mini-silent movies--they had to add dialogue and disrupt the song that they ostensibly existed to promote. The otherwise excellent video for Richard Marx's "Hazard" (perhaps the grimmest song he ever recorded) is marred by such needless additions.

In the case "Hazard", the spoken lines are disruptive but doesn't ruin the overall experience of watching the video, as is the case with entirely too many music videos of that period. (I think people were probably trying to capture the accolades and success of pieces of Michael Jackson's "Thriller"... but didn't realize that ones like that worked because the song was featured as part of a mini-movie that was built around it and woven through it.)

It could also be that here someone felt that the cost of having well-established actors appearing along side Richard Marx instead of the usual models and musicians required some lines to be spoken.

Whatever the reasons, an otherwise excelling little silent movie that carried the story of "Hazard" perfectly fine is interrupted by a spoken exchange between Marx and Conrad, which also disrupts the flow of the song--something else that doesn't happen when this is done well. (Again, I refer everyone back to "Thriller".)

Witness the birth of cinematic genres with 'Fantômas: In the Shadow of the Guillotine'

Fantômas: In the Shadow of the Guillotine (1913)
Starring: René Navarre, Edmund Breon, Renée Carl, André Volbert, and Jane Faber
Director: Louis Feuillade
Rating: Six of Ten Stars

Inspector Juve (Breon) finally captures the coldblooded, murderous master theif Fantômas (Navarre) and sees him given the death sentence. Can the villain with a thousand faces pull off one more impossible escape and cheat Death itself?

If you love movies, there are some films you should watch just because of the important place they occupy in the development of film. That is especially true these days when so many classic and important films are available from so many different sources, conveniently and cheaply (or even free).

Among the movies I've felt I really should watch are the silent thrillers from Louis Feuillade, because they are, without exageration, the foundation for everything that followed in that film genre. Although I've had complete DVD collections of both Feuillade's "Fantômas" and "The Vampires" series sitting in my "To Be Watched" pile for quite some time, I put off watching them because I have generally not enjoyed feature-length silent films dramas and thrillers. However, since I recently watched and loved "Seven Footprints to Satan" and "Nevada", I thought I'd finally get around to plugging a hole in my film history education.

I almost wish I hadn't waited this long to see "Fantômas: In the Shadow of the Guillotine", because it's a really good movie that's help up well. Also, as someone who loves detective films, horror movies, and crime dramas, it was fascinating to see how the elements that make up those genres appearance in their infancy... and how little has changed over the past century of cinematic story-telling.

Despite having many of the hallmarks and flaws of one of these early films--a static camera and actors that over-emote to a ridiculous degree--Feuillade keeps things moving with such a rapid pace that these problems don't become too annoying. Possibly due to this rapid pace, Feuillade mostly avoids the thing that kills my interest in many of these early dramas/thrillers--scenes that drag on and on and on, while the actors mill about, overacting. There are only two scenes in the film that go on a little longer than is good, and I think that I may have felt that way about one of them because I knew where the scene was going and I was eager for it to get there so I could enjoy the pay-off.)

The only real complaint I can mount about this thoroughly enjoyable film is that the relationship between Fantômas and a woman who provides him assistance is too murky for the film's own good. She may be his long-time lover, she may related to him and his criminal enterprises in some other way... but it's never explained. The only thing we know for sure is that Fantômas murdered her husband and that the name of an identity he was using was included in the husband's address book. That may even have been Fantômas's actual identity for all the audience knows. It could be that the movie-goers of 1913 knew all about the connection between the two characters, because this film was an adaptation of a hugely popular novel of the day, and director Feuillade could just have assume that the audience already knew how the two characters were tied to each other. Still--it annoys me when this assumption is made with adaptations of properties I'm familiar with, so even if this was the case, it kept me from giving this film Seven Stars (on my Ten Star scale).

If you have an interest in the history of film and where genre conventions come from, or if you just want to enjoy a fast-paced, old-timey crime drama, I think you'll find watching "Fantômas: In the Shadow of the Guillotine" is time well spent.

'The Devil's Party' is okay but not much more

The Devil's Party (1938)
Starring: Victor McLaglen, William Gargan, Paul Kelly, Beatrice Roberts, Frank Jenks and John Gallaudet
Director: Ray McCarey
Rating: Five of Ten Stars

Five childhood friends, now grown up and successful each in their own different walks of life, hold their annual reunion. It's disrupted this year when the professional life of one (McLaglen)--a nightclub owner who also runs an illegal gambling operation--of the friends collide with the professional life of two others--now police officcers (Gargen and Gallaudet)--with deadly consequences for some, and tragic consequences for all.

Well-acted and decently filmed--this is one of those movies that takes full advantage of the black-and-white medium, with deep shadows and creative camera-work to heighten mood--the film is nonetheless boring and predictable at every turn. It's only 65 minutes long, yet it starts dragging at about the 30-minute mark, and it feels like it's far longer than it really is.

Given the overall decent quality of the film, I think it's just that this story has been told so many times (and told better) in the 70 or so years since this film was made, I think this is one movie that history has left behind, and a film that the modern viewer can safely skip.

The gang's here, but should you be?

The Gang's All Here (1941)
Starring: Frankie Darro, Mantan Moreland, Marcia Mae Jones, Jackie Moran, Keye Luke, and Laurence Criner
Director: Jean Yarbrough
Rating: Five of Ten Stars

An unemployed truck driver, Frankie (Darro), and his friend Jeff (Moreland) take a job with a company who's deliveries are being targeted by hijackers. Luckily for them, Frankie is too stubborn to become a victim.

If there ever was a film that lacks focus, it's "The Gang's All Here". The story (which involves brutal hijackings and murder in the service of a plot that puts what could have been a sympathetic character squarely in the corner with the purely evil villains) is one that belongs in a thriller or crime drama, not a film populated by comedians laughing it up.

Speaking of the comedians, there is very little humor here that modern viewers will find funny, as it's mostly based around negative racial stereotypes about black people. I believe this to be a near-certainty, because, unlike other films featuring Mantan Moreland and Frankie Darro, the racist humor isn't turned on its head and made subversive by the fact that Moreland's characters have tended to be the smartest in the films... and if Darro (or anyone else really) paid attention to him, things would never get as bad they do. However, in "The Gang's All Here", Moreland and the other black character that appears in the film--his evil counterpart that's working for the bad guys (played by Laurence Criner)--are just as slow-witted and lazy as the characters around them assume they are. Even the relationship between Darro and Moreland's characters feels off in this one, with Moreland never rising above anything but subservience to Darro.

It doesn't help the film that Darro's character is something of a dimwit himself who is easily provoked by insults or tricked with flattery due to a severe case of Short Man Syndrome. Between Moreland and Darro's characters, we have a pair of dullards as the heroes.. comedic stereotypes who have somehow wandered into the spots where a tough guy and a comic relief sidekick should have been. Interestingly, though, the total inappropriateness of Darro and Moreland's characters for the story they're in ends up elevating an otherwise very minor character to role of the story's ultimate hero: an unassuming Chinese man (played by Keye Luke) who appears to be just hanging around to learn the trucking business. Like a couple other characters, he has secrets that come out in the course of the film, Unlike the two black characters, while Luke's character is partly played for laughs, and partly presented as being smarter than Darro and Moreland combined, he is never presented as a negative stereotype... and this also helps him fill the vacuum left by the absence of a hero.

For all its flaws, however, "The Gang's All Here" still delivers a tightly plotted and swiftly paced thriller (however accidental it may be), which is not the case for many Monogram productions that set out to be thrilling and instead ended up boring. If you can see past the racist humor, and if you've liked Darro, Moreland, and/or Luke in other films, I think you might find this one worth you time. (Not as worth-your-time as "Up in the Air", "On the Spot", or even "You're Out of Luck", but I don't think it will disappoint.)

A better movie than I had expected

Anatomy of a Psycho (1961)
Starring Darrell Howe, Ronnie Burns, Pamela Lincoln, Michael Granger, Frank Killmond, Judy Howard, and Don Devlin
Director: Boris Petrof
Rating: Five of Ten Stars

An emotionally unstable young man (Howe) is driven over the edge when the brother he hero-worships is executed for murder. He embarks on a campaign of revenge against those he blames for his brother's death, starting with assault, moving onto arson, and ultimately murder.

"Anatomy of a Pyscho" is one of those juvenile delinquent dramas that seemed to be very popular fare during the 1950s and into the 1960s, but which I have only seen a precious few that weren't either so deadly dull and/or bone-achingly preachy that I wanted to start hitting myself over the head with a hammer just to make watching less painful. Either I have been unlucky in my picks, or this film genre saw a higher quotient of crap than most others because the fact that I have to count "The Violent Years", which was written by Edward D. Wood Jr. and directed by a fellow not much more competent than he was, as one of the best examples of the juvenile delinquent drama. (Even if most of the juveniles seem to be in their early 20s, as is usually the case with these movies.)

So, given my past experience, it was a pleasant surprise to find this film to be quickly paced, decently acted, and refreshingly free of heavy-handed messaging. The dialogue is awful--vacillating from over-the-top 1950s hep-catness to old-school over-the-top melodrama, but the effort put in by the cast of the film goes a long way to proving the adage that a good actor can save a lousy script as everyone featured elevates the material to a level beyond its natural worth. Heck, Pamela Lincoln and Michael Granger must have been downright acting geniuses, because they manage to make their cheesy, stilted lines sound completely natural.

Still, not even the greatest actors of them all can overcome the shortcomings of indifferent cinematography and lighting, and a weak director who seems to lose his grip on the movie in the final few minutes. After building to what promises to be an explosive finale with the titular psycho going on a rampage that will at the very least destroy himself, the filmmakers chicken out at the last moment and we're left with a badly edited, boring and repetitive closing scene.

It's a shame the film's director and/or screen-writers (which some sources claim include Edward D. Wood Jr. working under the pen-name Larry Lee) couldn't keep it together for the 70-minute run-time, because the weak ending drags this one to the very low end of average.

'The Capture' fails because it is well done

The Capture (1950)
Starring: Lew Ayres, Teresa Wright, Victor Jory, Jimmy Hunt, and Barry Kelley
Director: John Sturges
Rating: Four of Ten Stars

Oil-man Lin Vanner (Ayres), haunted by guilt after killing a suspected murderer and payroll thief, seeks out the dead man's family (Hunt and Wright) to make amends. He soon discovers that he may have killed an innocent and sets his mind to finding the real thief.

In concept, "The Capture" is interesting enough. It is a modern-day (well... 1930s, which is more modern than the 1870s) Western that deals with the emotional impact killing another human being has on an Everyday Joe who isn't a trained soldier or police officer, as well as the void that person's death leaves for those who love him. The tale is spiced up with some romance, intrigue, drama, and true crime-style action, but it ultimately comes off as less than interesting.

The biggest problem with the film is that its central character, Lin, is just a little too much of an Everyday Joe. Lew Ayres does a fine job of portraying this character... a hard working, honest man who is concerned with all the usual things--earning a living, impressing his boss, looking good to his girlfriend--when his life is thrown into turmoil because of a single snap decision. But Lin is such an Everyday Joe, both because of the way the script is written and Ayers performance, that he is boring. There's a reason they don't make movies and write adventure stories about people like you and me, Dear Reader, it's because we're boring. And Lin is like us, just an Everyday Working Stiff. Lin's ordinariness also makes it very hard to suspend disbelief during the film's third act when he turns hardcore amateur investigator/tough guy in his search for the real thief and peace of mind. In other words, the filmmakers and Ayres do such a good job of portraying Lin as just a normal guy that it ends up working against the entertainment value of the film.

Another problem rests with Teresa Wright's character. Wright struggles mightily to give texture to her, but she can't overcome the fact that the character is written to be a dishrag who can't even pull of a revenge scheme properly when she discovers Lin killed her husband. Then, to make her character even lamer, she becomes the subject of another movie Insta-Romance when she marries Lin is what seems like an overnight conversion from resentment to true love.

Despite the good acting on the part of both Ayres and Wright, the film becomes almost unbearably boring in the middle when it's mostly about them--two characters that are written to be uninteresting. However, viewers who stick with the film are rewarded when things pick up toward the end, even if Lin's transformation into a sort-of tough guy is unbelievable.

"The Capture" isn't a film that's worth seeking out on a stand-alone DVD, but it's harmless filler if you see it in one of those big 20 or more movie multi-packs.

'The Gambler and the Lady' is worth a chance

The Gambler and the Lady (1952)
Starring: Dane Clark, Naomi Chance, Meredith Edwards, Kathleen Byron, and Erich Pohlmann
Director: Sam Newfield, Patrick Jenkins and Terence Fisher
Rating: Seven of Ten Stars

An American hood living in London (Clark) wants more than to just be the guy who made his fortune owning popular night clubs and running successful after-hours gambling parlors... he wants to accepted among the circle of the British ruling class the admires so much. When he befriends the beautiful and truly noble-in-spirit Lady Susan (Chance), it appears his dream may come true. But will gangsters trying to take over his businesses, bitter ex-employees, and his own naive belief that the British upper class is inherently more honest and decent than men of the street like himself conspire to destroy him first?

"The Gambler and a Lady" unfolds like a Greek tragedy, with everyone around Jim Forster, the American street tough turned die-hard Anglophile, warning him that the upper-crust is not a place for him, nor are those who are already there the kind of people he imagines. But, like all tragic heroes, Jim forges ahead, pursuing his hopes and dreams... and ultimately dooming himself and everyone and everything he ever cared about. The end of the film is its starting point, but even if it wasn't, it is no surprise that Jim comes to a sad end, nor how he got there; each step that he thinks leads him closer to his dream turns out in the end to be another factor in his downfall and only Jim is blind to this fact until it's too late.

Although Dane Clark will never be enshrined among history's great actors, he had a real knack for portraying Everyman and tough guys with soft interiors, both of which made him perfect for the role in "The Gambler and the Lady". In the hands of a lesser actor, or a more handsome one, the character of Jim could easily have come across as pathetic rather than sympathetic. While the entire cast is good in their parts--as is the case with most of these black-and-white Hammer crime dramas given that we see the same supporting actors over and over again--it really is Cook who makes the movie.

"The Gambler and the Lady" was reportedly shot in less than a month, and with a configuration of three directors in order to allow American writer/director Sam Newfield to help the project without drawing flak from the British labor unions, but any production difficulties aren't to be seen in the final product. It's a fast-paced, interesting and compelling drama that features more action than is the norm for Hammer's black-and-white thrillers and it easily ranks among the best of the films born from the partnership between the English studio and American B-movie producer Robert Lippert.

This is a movie that doesn't deserve the obscurity it has languished in for the past many decades. It's worth checking out for anyone who enjoys classic movies.

Ginger Rogers is excellent in this obscure thriller

A Shriek in the Night (1933)
Starring: Ginger Rogers, Lyle Talbot, Purnell Pratt, Harvel Clark, Lillian Harmer, Louise Beaver, and Arthur Hoyt
Director: Albert Ray
Rating: Seven of Ten Stars

A series of murders take place in an upscale apartment building, and reporters Pat Morgan (Rogers) and Ted Kord (Talbot)--working for rival newspapers but involved in a romantic relationship--are hot on the trail of the killer, or killers. Morgan happened to be working on an investigative piece about one of the victims, so she is in a perfect place to help both her career and the police... so long as she doesn't end up a murder victim herself.


"A Shriek in the Night" is, for the most part, a fairly typical early 1930s low-budget mystery, with dimwitted maids, cranky police detectives (although in this one the detective is not incompetent, just cranky), and wise-cracking reporters running circles around everyone and ultimately providing the clues needed to solve the mystery. The acting is above average here, and the characterizations of the two reporters and the police detective are also a bit more intelligent and three-dimensional than is often the case in these movies. (The comic relief maids are still as annoying as ever; if this is what American-born house-servants were like, it's no wonder we took to importing illegal aliens to turn down our beds and clean our homes!)

What really sets the film apart from others like it is its villain, and a surprisingly chilling sequence where he prepares to burn Pat Morgan alive. This character feels in many ways like an ancestor to the mad killers who came into vogue during the 1970s, and which continue to slash, strangle, and mutilate their way across the movie screen to this very day.

Another thing I found interesting in this film is how different Ginger Rogers' character was from the one she played two years later in "The Thirteenth Guest".

Many actors and actresses that appeared in these B-movies gave pretty much the same performance in movie after movie--for instance, there's very little difference between the smart-ass character Lyle Talbot plays here and the one he played in "The Thirteenth Guest." I haven't seen enough of Rogers' performances to really know why there is this difference--was she lucky enough to have a chance to show different facets of her acting ability, or did she make each part she played different somehow?--but it was an unexpected surprise.

Those of you out there with more than just a passing interest in suspense and horror movies may want to check this film out for its very modern, proto-"maniac killer" character/sequence. Those of you who just enjoy this style of movies--mysteries that get solved by wise-cracking reporters who take nothing seriously--should also check it out. It's a fun way to spend an hour.

'Whistle Stop' is done in by a weak script

Whistle Stop (1946)
Starring: George Raft, Ava Gardner, Victor McLaglan, Tom Conway, and Jorja Curtright
Director: Leonide Moguy
Rating: Five of Ten Stars

When Mary (Gardner) returns to her home town after two years away, she rekindles a rivalry between Kenny (Raft), a two-bit loser she's always loved, and Lew (Conway), the local hotel owner--and hood-- who has always been in love with her. This time, the rivalry leads to more than just a few thrown punches... this time, it leads to robbery and murder.


"Whistle Stop" feels more like a summary of a story than the actual story. We learn learn next to nothing about the characters other than their most obvious traits (Why does Mary really come back to town? What was she really doing for those two years in Chicago? Why does Lew go to such extreme measures to get even with Kenny... is he really just a bastard?), we learn very little about the deep relationships that exist between them (Why does Gitlo--a resentment-filled employee of Lew, who is played by Victor McLaglan--have such a soft spot for Mary? Has Mary and her family always been the landlords of Kenny's family and is that how they met?). Perhaps if we knew a little more about the characters in the film, the ending would have felt a little less strange.

This is one of those films that's technically well made and features decent performances by all the actors, but which is ultimately undone by a bad script. The end result is okay but unremarkable.

Ed Wood and the Criminal Mind

Edward D. Wood Jr. is remembered by history as a cinematic sad-sack. He was a dreamer who never put in the effort to learn the craft of writing or filmmaking, and all his excitement and hopes couldn't replace craftsmanship. His films are universally shoddy to say the least.

Wood's most famous pictures are the ones he made with Bela Lugosi (including his best work, the very heartfelt and bizarre "Glen or Glenda?"). You can read my reviews of those films here, at a blog closely related to this one, The Bela Lugosi Collection.

In this article, however, I discuss Wood's two attempts at the film noir genre, one which was a solo effort and another where he simpl wrote the script for another (equally inept) filmmaker.


Jail Bait (aka "Hidden Face") (1954)
Starring: Herbert Rawlinson, Lyle Talbot, Dolores Fuller, Timothy Farrell, Clancy Malone, Steve Reeves, and Theodora Thurman
Dirrector: Edward D. Wood, Jr.
Steve's Rating: Four of Ten Stars
A kindly old plastic surgeon (Rawlinson) is forced to give a gangster (Farrell) a new face in order to save his son's life.


"Jail Bait" is average Ed Wood, which means it's pretty bad.

The acting is universally awful, although in the case of Rawlinson and Talbot, I think the performance is more a result of what they had to work with and WHO they had to work with than a lack of talent; both men have been much better in other films. Talbot was never particularly amazing, but he was far better in "Trapped By Television," for example. (Although, it might speak volumes of Rawlinson's professionalism that he was willing to deliver a classic Ed Wood lines like "This afternoon we had a long telephone conversation earlier in the day." Although, why no one on the set didn't say, "Hey, Ed... should this line be 'We had a long telephone coversation earlier this day' or 'This afternoon we had a long telephone conversation'?" I can't possibly imagine.)

The story is also padded and drawn out, first by a pointless bit of older footage of a boring burlesque dancer and then by a handful of overwrought scenes of questionable value. Basically, Wood crams 45 minutes of excitement into a 70-minute running time.

There are some interesting ideas plot-wise, though. I think that with a more competent director, a better cast, a script that had been revised by someone who could read, and a budget of more than $32 for sets and make-up--even the most generous and most imaginative of viewers couldn't possibly consider the shabby set that is the home of gangster Vic Brady's kept woman "fancy", no matter how much the characters insist that it is--this could have been a decent crime drama. It might even have been touching at times, with its message about supportive fathers and love between family members.
But, none of that is the case, and this ends up being a weak effort, even by Edward D. Wood, Jr. standards.

Still, there's enough quirky charm here to make "Jail Bait" worthy of adding to the line-up for a "Bad Movie Night." Just know that the title is misleading--its taken from a line delivered by Fuller's character, where she refers to her brother's unregistered handgun as "jail bait"... the phrase must have meant something different in 1953, or at least something different to Ed Wood.


The Violent Years (aka "Female," "Girl Gang Terrorists" and "Teenage Girl Gang") (1956)
Starring: Jean Moorhead, Barbara Weeks, Joanne Cangi, Gloria Farr, Therea Hancock, Timothy Farrell, Arthur Millan, I. Stanford Jolley, and Lee Constant
Director: William Morgan
Rating: Four of Ten Stars

The neglected daughter of a socialite and a workaholic newspaper editor forms a gang of other girls who receive everything but attention from their parents. Together, they go on an ever-escalating crime-spree that involves gas station robberies, the rape of young men, and even the desecration of the American flag!


"The Violent Years" is a film written by the infamous Edward Wood, a screenwriter and director whose flims only redeeming qualities were that the passion he had for filmmaking managed to show through the cheap sets, bad acting, and incompetent direction, and the quirky sort of poetic cadence that was present in his dialogue. (Of course, also present were awful lines like, "It's hard for an old friend to sit in judgement of an old friend.") Although one might think that another director at the helm of this movie might elevate above Ed Wood's usual low standards, but it happens that William Morgan is about as skilled a craftsman as Wood.

That said, this film still has has its decent points. First off, it has a message that is equally valid today. Parents need to do more parenting--as in, they need to set aside their own interests and desires for the years when they should be focusing on guiding and nurturing the young lives they've brought into this world--if we're to pull American society out of the tailspin it's been in for the past 50 years. It's delivered in so hamfisted a fashion that it makes "Reefer Madness" seem subtle, but it's a message that I wish would reach reach the appropriate ears and one that I wish would be heeded. It also features a nice reversal of the oft-featured gang-rape scene in these sorts of youth crime films, and perhaps one of the most creative executions of a car crash in a film where the budget didn't allow for a car crash. Oh... and just about every female character who you might want to see in tight clothes is indeed wearing tight clothes. If only real life had so many firm bosoms in tight sweaters!

On the downside, we've got some pretty horrible acting that's matched only by the film's horrible casting. The teenage wild things, who are around 15 or 16 years old according to the film's story, are played by actresses who are obviously in their late 20s or early 30s, something which lends an air of rediculousnesses to the story. Further, we once again are treated to some of the cheapest looking homes of rich people that have ever been put on film. (Ed Wood kept writing about fancy homes, but the sets in his movies never rose to even being close to believable on that count.)

Of course, there's also plenty of "so bad they're good" moments in the film, such as the pajama party, the shoot-out, and the aforementioned rape scene which is on one hand as creepy and disturbing as it needs to be, but undermined by an illogical simultaneous escape scene.

Like Ed Wood's other message picture, "Glen or Glenda?", "The Violent Years" delivers a point that is worth taking to heart--while the previous film asked for tolerance of those who are different, this film calls for parents to live up to their responsibilities and presents us with an over-the-top example of the consequences of parental neglect. And it has the added benefit of delivering its message wrapped in tight sweaters.

'A Life at Stake' stars a miscast Angela Lansbury

A Life at Stake (aka "The Key Man") (1954)
Starring: Keith Anders, Angela Lansbury, Claudia Barrett, and Douglass Dumbrille
Director: Paul Guilfoyle
Rating: Four of Ten Stars

An architect (Anders) attempting to come back from a business failure is approached by a wealthy couple (Lansbury and Dumbrille) who claim they want to help him get back on his feet so he can build houses for them. The husband insists the architect takes out a large insurance policy so their investment can be recovered if something should go wrong. When the architect starts having unexplained accidents, he starts to fear that he is the investment, and that his death is the pay-off.


"A Life at Stake" is a slow-moving, completely predictable (despite the far-fetched, convoluted nature of its plotline) film with a fairly dull main character and a pair of villians who aren't much better. In fact, the only performer here who displays any charisma whatsoever is Claudia Barrett, who is featured as the innocent younger sister of Lansbury's character.

"But what about Angela Lansbury?" some of you ask.

Well, I think she is horribly miscast here. She simply isn't the slinky, femme fatale type. This part required either a Lauren Bacall-type, or, at the opposite end of the scale, a Heather Angel-type. Lansbury is neither, and she is terribly miscast.

That said, she was more convincing in a similar role in "Please Murder Me", because she wasn't playing a straight-up "scheming trophy wife" as she is here. In the other film, Lansbury WASN'T playing an evil hussy... or so it seemed....

"A Life at Stake" is deserving of its obscurity. It can be found with 49 other black-and-white film noir/crime dramas, or on a double-feature DVD with the above-mentioned "Please Murder Me". As such, it's harmless filler. It's not a film worth seeking out, unless you're the president of the Angela Lansbury Fan Club.

A young couple learns that a life of crime is "The Wrong Road'

The Wrong Road (1937)
Starring: Richard Cromwell, Helen Mack, Lionel Atwill, and Horace MacMohan
Director: James Cruze
Rating: Five of Ten Stars

Jimmy and Ruth, a young, down-on-their-luck couple (Cromwell and Mack) steal $100,000 from Jimmy's employer that they intend to live off it once they get out of prison. A private detective charged with recovering the loot (Atwill) believes they are just a pair of desperate kids deserving of a second chance, and he arranges their early parole. As he encourages them to give back the money, a coldhearted, murderous criminal (MacMohan) is stalking them in the hopes of getting the loot for himself.


"The Wrong Road" is so heavy-handed in delivering its "crime doesn't pay" and "it's never to late to reform and become a law-abiding citizen again" messages that it borders on the goofy educational films that were so popular in the 1950s and 1960s (and even into the 1970s, because I remember watching a few...). However, a cast far classier and talented than is usually found in that sort of films, and a fast-moving story that actually has some tension to it makes it better than the educational shorts and film-strips it resembles.

The best part of the film is Atwill's character. Private detective Mike Roberts is almost a proto-Colombo, with his ability to pop up in Jimmy and Ruth's path at just the right (or wrong, depending on your point of view) moment, and his technique of annoying the criminals into coming clean.

'Prison Shadows' done in by weak script

Prison Shadows (1936)
Starring: Edward Nugent, Joan Barclay, Lucille Lund,and Syd Saylor
Director: Robert Hill
Rating: Four of Ten Stars


When boxer Gene Harris (Nugent) kills two men in the ring in two fights seperated by a three-year manslaughter stint in the clink, his trainer (Saylor) smells a rat and tries to investigate.

That's not the best summary of "Prison Shadows", but a more detailed one would give away too much of the plot. Unfortunately, that plot is one that will barely make sense to even the most attentive viewer. It's not that it's overly complicated... it's just that it's dumb, with bad guys that are even dumber. (And they're not dumb for comedy... they're just dumb.)

And speaking of dumb. I think the character Gene has got to be one of the most frustrating characters I've ever experienced in a film. The level of obliviousness he shows to the affection that Good Girl Mary Comstock (Barclay) has for him while he carries his torch for Femme Fatale Clair Thomas (Lund) is maddening.I usually don't mind romantic subplots, but this one bugged the heck out of me.

It's a shame the script for this film is so awful, because all the actors are good in their parts--Nugent is perhaps the weakest of the bunch, but I may feel that way due to his bone-headed character more than anything. He wasn't exactly bad... he was just "blah" when compared to everyone else.