Torchy Blane gets a fluffy send-off

Torchy Blane... Playing With Dynamite (1939)

Starring: Jane Wyman, Allen Jenkin, Tom Kennedy, Sheila Bromley, Eddie Marr, and Joe Cunningham

Director: Noel Smith

Rating: Six of Ten Stars

Torchy (Wyman) gets herself sent to jail in the pursit of an exclusive article about notorious bank robber Denver Eddie (Marr) via his incarcerated girlfriend (Bromley). Meanwhile, her fiancé, police Lt. Steve McBride (Jenkins), and his assistant Gahagan (Kennedy) decide to moonlight as bounty hunters and team up with Torchy in an effort to catch the robber and collect a $5,000 reward.

With a title like "Torchy Blane... Playing with Dynamite", I had hoped there'd be a mad bomber somewhere in the mix here.. but no. There wasn't even a time bomb in this, the final outing for Torchy Blane. This isn't the first time where the title of a Torchy Blane film has been a little off-the-mark

There's nothing particularly bad about this film, except perhaps the shaky logic that motivates the characters Lt. McBride and Gahagan to fly across the country in pursuit of the bank robber.., and perhaps Torchy's running around committing actual crimes to get herself put in jail, on the off-chance that she'll make friends with the bank robber's girlfriend and thus get not only a scoop but also the chance to arrest him. However, if you try to put yourself in the mindset of a 10- or 12-year-old, then the logic makes perfect sense.

The best thing about "Torchy Blane... Playing With Dynamite" is that it's constantly moving and almost every moment is devoted to somehow advancing the film's story or providing some tidbit of character development. It's only an hour long, but it flies by so fast it feels even shorter.

Another strong point of the film is that Gahagan got to do a little more than just be a moron who gets in the way. In fact, he is key to the film's climactic sequence revolving around a professional wrestling match

This was the final entry in the Torchy Blane series, but it saw two of the three lead characters portrayed recast with Jane Wyman wearing Torchy's hats and Allen Jenkins carrying Steve's badge. While Jenkins is a good replacement for Barton MacLane (who previously played the character), Jane Wyman is less effective in taking over from Glenda Farrell. Wyman has plenty of screen presence and energy, but she lacks the aggressive edge that made Farrell's Torchy believable as someone who over and over would outshine her male colleagues on the crime beat, but also take their ribbing and throw it right back at them. Wyman's a good Torchy, but she's not a great one.

All in all, Torchy's swan song is a solid B-movie. It's better than some in the series, but it's no "Smart Blonde" or "Blonde at Work".

'Smart Blonde' is a wise viewing choice

Smart Blonde (1937)
Starring: Glenda Farrell. Barton McLane, Addison Richards, Tom Kennedy, Jane Wyman, and Winifred Shaw
Director: Frank McDonald
Rating: Eight of Ten Stars

Newspaper reporter Torchy Blane (Farrell) and her boyfriend, Homicide Squad Lt. Steve McBride (McLane), unravel the mysteries surrounding the murder of an out-of-town investor poised to buy the businesses of Fitz Mularky (Richards).

"Smart Blonde" is a breezy mystery flick with just the right amount of suspects and story for its brief one-hour running time. Another strong element of the film is that the romantic relationship between Torchy and Steve is long-established before the beginning of this story, which is a nice change of pace. Too often, these films shoe-horn an insta-romance into the picture, but here the writers were smart enough to avoid that contrivance.

(Of course, to some degree, the source material can be thanked for that. In the story this film was adapted from, Torchy is a man who is best friends with MacBride.)

Aside from the well-cast, well-written central characters, the supporting cast is made up of similarly charming actors playing interesting characters. Stand-outs are Tom Kennedy, as Steve's small-brained, big hearted chauffeur, and Jane Wyman, a a chatty hat-check girl.

If you like 1930s mystery films that throw a "battle of the sexes" into the mix, I think you'll find "Smart Blonde" right up your alley... and a refreshing change in several ways.

Hitchcock revisits early style in 'Stage Fright'

Stage Fright (1950)
Starring: Jane Wyman, Richard Todd, Michael Wilding, Marlene Dietrich, and Alastair Sim
Director: Alfred Hitchcock
Rating: Eight of Ten Stars

A flighty acting student (Wyman) tries to help a friend she thinks she's in love with (Todd) when it looks like he is being drawn into a murder cover-up by a manipulative diva (Dietrich). Things get even more complicated when she realizes she is actually in love with the police detective working to solve the murder (Wilding) and when she comes to fear that her friend was more than just an innocent bystander in the murder plot.

Although made in 1950, "Stage Fright" feels more like the movies Hitchcock made in the 1930s like "Young and Innocent" rather than his other films from around this same time, such as "Strangers on a Train". Maybe it's because of the English setting and characters, but for some reason, the mix of humor-to-suspense, the pacing of the story, and even the outcome, gives the film a tone that Hitchcock will never again use. Perhaps, as is suggested on the DVD commentary track, this film was Hitchcock's "goodbye" to England and that early part of his career, even if it came roughly a decade after his relocation to Hollywood. Everything I found so pleasant, charming, and oh-so-early-20th-century British about Hitchcock's early films are present in this

Some viewers may not like the quaintness of the film's characters, most of whom feel like they belong in an Agatha Christie novel, or perhaps even a detective novel directed at teenaged girls what with the central character been an independent-minded, if a naive and prone to over-romanticising everything, girl who is out to do the right thing, her way. (Although as far as that goes, this may well be one of the more "girl-friendly" mystery movies I've come across.)

However, it is that very quaint, old-fashioned nature of so many of the movies characters that make the villains seem all that more evil and twisted when their natures and motives come to light. The character played by Richard Todd--our young heroine's original love interest--seems all the more terrifying and threatening when his full psychopathic nature comes to light because he is surrounded by such otherwise gentle and fundementally well-mannered people. It is one of the most intense scenes in any Hitchcock film.

Another thing that works far better than it has a right to is the insta-romance featured in this picture. I've complained about this plot device in many films before--the one where characters meet and instantly fall in love because supposedly their Fated to be True Loves but in reality it's Dictated By Plot Needs--but here it actually works. Maybe I can buy into the sudden and complete romance between our heroine and the police detective because of the old-fashioned atmosphere that permeates the film, or maybe it's because of the clumsy and realistic way their relationship gets its start, but it was for once one I could buy into, and one that I found myself caring about when it looked like it was going to fall apart.

It could also be that I buy into the insta-romance because Jane Wyman's Eve and MIchael Wilding's "Ordinary" Smith are so likable both in the way they are acted and the way they are written that even my cynic's heart gave way to well-wishes and romantic impulses. The characters are charming and the actors have great on-screen charisma. Wyman and Wilding make perhaps one of the best couples to ever grace a Hitchcock film.

There is really only one downside to "Stage Fright", and it's one that critics and Hitchcock himself has slammed it for. The film opens with a "flashback" that we later learn isn't entirely true. Hithcock reportedly stated that he later regretted starting the movie that way, and critics have commented that a film should never include a flashback that's a lie. Personally, it didn't bother me that much, although I would have liked there to have been a clue or two that demonstrated the lie before it is explained to us so that I might have figured it out on my own, but perhaps my perspective is informed by the fact that I've sat through entire movies that turned out to be lies, such as "The Usual Suspects."

If you love the early Hitchcock movies, you need to check out "Stage Fright". Like so many of his British pictures, this is a sorely under-appreciated effort.