SON OF ZORRO

Zorro in action!

SON OF ZORRO (13-chapter Republic serial/1947). Directors: Spencer Gordon Bennet; Fred C. Brannon. Colorized version. 

In a post-Civil War period rancher Jeffrey Stewart (George Turner) returns to Box County and discovers that crooked politicians and their cronies have taken over. These include Judge Hyde (Ernie Adams), Sheriff Moody (Ed Cassidy), a desperado named Boyd (Roy Barcroft of Manhunt of Mystery Island), and others, all of whom report to a mysterious "Chief" behind the scenes. Jeff has two main allies: his foreman Pancho (Stanley Price of The Invisible Monster), and the post-mistress, Kate Wells (Peggy Stewart of When the Clock Strikes). These and others who are opposed to the plans of the Chief will have a tough time fighting off his sinister schemes. Pancho gives Jeff the idea of dressing up as his ancestor, the famous Zorro!

George Turner as Jeff Stewart

Son of Zorro is an exciting, well-made Republic serial with lots of action, lively well-choreographed fist fights, and a snappy musical score. George Turner is fine and appealing in the actor's only starring role, and the other cast members add some zest as well.  Memorable cliffhangers include a huge ore crusher that threatens to smush Kate; an avalanche caused by dynamite; our hero and Kate trapped by rushing water inside a cave; a wagon that hurtles off a cliff during a landslide; an inferno in the jail where Kate and Jeff are trapped; and others. Other familiar players in the serial include Ken Terrell and Tom Steele as bad guys. Price isn't entirely convincing as the Hispanic foreman, and the identity of the Chief comes as no great surprise. 

Verdict: Highly entertaining and fast-paced western serial. ***. 

BLACKMAIL (1947)

William Marshall and Ricardo Cortez

BLACKMAIL (1947). Director: Lesley Selander. 

Ziggy Cranston (Ricardo Cortez) calls in a private eye, Danny Turner (William Marshall), when he is blackmailed by a avaricious gal named Carla (Stephanie Bachelor). When Carla is murdered, Ziggy is less concerned that he might be accused of the crime than that there might be associates of the dead woman who still have the incriminating photographs. This turns out to be true, and one of those associates winds up dead in Ziggy's swimming pool. Thinking Ziggy did the deed, Danny wants no part of murder and calls the police, but when the cops, including Inspector Donaldson (Grant Withers) get there the body has disappeared. Ziggy's gal, Sylvia (Adele Mara), backs up his story that there was no murder and no body, but Danny determines to get to the bottom of things. Along the way he has to contend with casino owner Kellaway (Roy Barcroft of The James Brothers of Missouri), his punch-happy associate, Pinky (Tristram Coffin of King of the Rocket Men), the supposedly French chauffeur Antoine (Richard Fraser of The Tiger Woman), and other nefarious characters before he reveals the true killer at the climax.

"I didn't do it!" Ricardo Cortez and Adele Mara

Blackmail is another bit of film noir from Republic studios featuring many of their contract players. Star William Marshall, who was once married to Ginger Rogers, makes a very convincing movie-type private eye radiating toughness and insolence in equal measure although he isn't given many opportunities to love up the ladies. Cortez plays the part in such a way that you never quite know if he's on the level or making things up as he goes along. Adele Mara is okay if a little bland in this as Cortez' squeeze. The plot is a wild and confusing  concoction that has a few holes in it, although it's entertaining enough and fast-paced. Marshall should have made more of these but this was his only appearance as Danny Turner. Probably the best thing about the movie are the ferocious fistfights which approach the level of the fisticuffs seen in Republic serials.

Verdict: Fast-moving Republic private eye flick. **1/2. 

HEARTACHES (1947)

HEARTACHES (1947). Director: Basil Wrangell.

Obnoxious Vic Morton (Kenneth Farrell) is making his latest romantic movie, "Heartaches," when he gets a death threat in the mail. Vic's publicity agent, Toni (Sheila Ryan of Railroaded), is afraid that her boyfriend, reporter Jimmy McDonald (Edward Norris), will discover that Vic can't actually sing a note, but is dubbed by the un-handsome Bogey (Chill Wills). Lt. Armstrong (James Seay of Beginning of the End) thinks the business with the death threats -- which keep on coming -- is just a publicity stunt, but then a couple of dead bodies turn up. Potential suspects and victims include Mike Connolly (Frank Orth), Vic's agent, and Anatole Hendricks (Edward Earle),. who can't understand why Vic won't sign a very lucrative radio contract. 

Edward Norris, Sheila Ryan, Kenneth Farrell

Heartaches is better than the usual PRC production (which should stand for "Poverty Row Crap" but actually stands for "Producer's Releasing Corporation"), although this is still a minor murder mystery with the denouement practically a foregone conclusion. It has an interesting supporting cast: Keefe Brasselle as a prop boy who is also a suspect; Western star Lash La Rue as an actor in the film-within-a film whose gun somehow has real bullets in it (this is never really explained); Arthur Space of Panther Girl of the Kongo as a postal executive who investigates the threatening letters; Terry Moore as an actress in a coming attraction; and Minerva Urecal as a cleaning lady who discovers two corpses during her rounds. As for the leads, Chill Wills adds the most flavor as the man who was a lead vocalist with a band and is now just singing off-screen. Ken Farrell is suitably bitchy and twitchy, while Ryan and Norris are both adept but not terribly appealing. NOTE: Chill Wills was also lip-syncing -- the actual singer is unknown.

Verdict: Not since milli vanilli! **1/2. 

THE BLACK WIDOW

Carol Forman as Sombra

THE BLACK WIDOW (13 chapter Republic serial/1947.) Directed by Spencer Gordon Bennet and Fred C. Brannon. 

"Open the tanks and we'll cremate them!" -- Sombra.

The beautiful fortune teller Sombra (Carol Forman), popularly known as the Black Widow, takes orders from her father, Hitomu (Theodore Gottlieb) -- who shows up now and then in a puff of smoke in a kind of teleportation chair --  but otherwise seems very much in charge of her assorted underlings. Her chief adversaries are mystery writer (!) Steve Colt (Bruce Edwards) and reporter Joyce Winters (Virginia Lee), to whom Steve is continuously condescending. Sombra, who got her nickname from her use of black widow spider toxin in her victims' bloodstreams, employs such thugs as Nick Ward (Anthony Warde of Dick Tracy vs Crime Inc.) to do her dirty work, although she's not above getting her own hands dirty when it suits her. She is a mistress of disguise who impersonates more than one woman, causing both consternation and havoc. Sombra and her father particularly want to get their hands on a special formula for atomic rockets if not the rockets themselves. 

Theodore Gottlieb as Hitomu

The Black Widow is a very entertaining Republic serial with good performances from Forman and Warde, who seemed to make a career playing nasty and efficient bad guys in assorted serials. Alas, Edwards and Lee as the good guys in this are comparatively colorless, although Joyce can be feisty at times, and at one point tries to clobber Sombra with a steering wheel that she had been handcuffed to. Notable cliffhangers include the tunnel filled with fire in chapter five, and a large pane of glass that nearly functions as a guillotine in chapter six. The most outstanding and thrilling sequence is in chapter four, when Joyce is secreted in a crate on a plane as the crate keeps sliding closer and closer to the open hatchway ... 

Virginia Lee and Bruce Edwards

The Black Widow is full of stock "orientalisms," including the excellent theme music (although the rest of the score is not as memorable), even though none of the actors are remotely Asian. Theodore Gottlieb as Hitomu reminds me of nothing so much as a Borscht Belt comic and apparently that's exactly what Gottlieb was! While he doesn't make the most convincing "Oriental" ruler -- I'm not even certain if that's what he's supposed to be -- he is still effective and fun as Hitomu. A clever bit has Ward using a special mist to instantly change the color of his car when he is being pursued by Colt, although the business with Colt having to use special "triangulation" to find Sombra's HQ is laughable, as by now he should surely have known where the woman was! 

Verdict: Whatever its flaws, this serial is a lot of fun! ***. 

JESSE JAMES RIDES AGAIN

John Compton and Clayton Moore

JESSE JAMES RIDES AGAIN (13 chapter Republic serial/1947). Directed by Fred C. Brannon and Thomas Carr.

Jesse James (Clayton Moore of G-Men Never Forget) is on the run from the sheriff along with his buddy Steve Long (John Compton of The D.A.'s Man). Jesse feels his criminal activities have been highly exaggerated and Steve is completely innocent. With Jesse using a fake name, they come to a small town and bunk with an old farmer, Sam Bolton (Tom London)  and his daughter, Ann (Linda Stirling.) When the farm is attacked by a group of masked Black Raiders, Jesse and Steve help fight them off, and Jesse tells a grateful Ann who he really is. These seemingly inexplicable raids against farmers are engineered by James Clark (Tristram Coffin of King of the Rocket Men) and carried out by Frank Lawton (Roy Barcroft) -- they are after the oil that is under everyone's property.

John Compton with Roy Barcroft

In chapter one a riverboat blows up with Ann tied up on board. Chapter 12 features an exciting horse and carriage race between raiders and farmers as the latter try to deliver oil and the raiders try to stop them. The best cliffhanger occurs in chapter 7, when Ann is put inside a cage called a cotton compress and is nearly crushed to death. The performances are all good in this, the action is fast, the fisticuffs are furious, and the serial is fun. This was the first of three Republic serials featuring the character of Jesse James. The follow ups were The Adventures of Frank and Jesse James and The James Brothers of Missouri. 

Verdict: Action, thrills, and two handsome hunks! ***.  

EXPOSED (1947)

Adele Mara and Mark Roberts

EXPOSED (1947). Director: George Blair. 

"He probably got admitted to the bar too often." -- referring to attorney-turned-drunk Severance. 

Lady private eye Belinda Prentice (Adele Mara) is hired by Colonel Bentry (Russell Hicks) to investigate the doings of stepson William Foresman (Mark Roberts of The Brothers Brannigan), who has supposedly been acting strangely. Belinda and associate Iggy (William Haade) have barely gotten started when the client is found dead in his study. Suspects include William, his sister Judy (Lorna Gray), the attorney turned drunken butler Severance (Harry Shannon), the lawyer Lowell (Charles Evans), seedy gunsel Chicago (Bob Steele), Dr. Richard (Colin Campbell of The Lost World) and the odd Professor Ordson (Paul E. Burns). Belinda's father, Inspector Prentice (Robert Armstrong), just happens to be the lead cop on the case, and he doesn't appreciate his daughter's interference. 

Robert Armstrong and Adele Mara

The notion of a female private eye was still unusual enough in the forties, but while Exposed starts out in snappy enough fashion, it soon bogs down into a very routine Republic studios programmer that lasts less than an hour and is much less entertaining than the average episode of Perry Mason (Mark Roberts appeared eight times on that series). There are no clever murder schemes nor any surprises whatsoever. In fact, the only memorable sequence is a protracted and explosive fight between Iggy and Chicago that reminds one of the kind of fisticuffs you would see in one of Republic's serials. The actors are all professional enough although none of them especially distinguish themselves. Mara seems over-rehearsed throughout. 

Verdict: Except for the lively fight scene, this is pretty dull. *1/2. 

VACATION DAYS

Warren Mills and Freddie Stewart

VACATION DAYS (1947). Director: Arthur Dreifuss.

Miss Hinklefink (Belle Mitchell), a teacher at Whitney High, takes her graduating students -- and Professor Townley (Milton Kibbee), the principal of the school and her crush -- for a vacation at her ranch in the town of Gulch's Gulch. There young Freddie Trimball (Freddie Stewart) is mistaken for a notorious outlaw named "Angel Face," whom he greatly resembles, and assorted people do their damnedest to kill him. 

Jim Hart and June Preisser

Vacation Days is yet another in the series of "Teen Agers" films from Monogram studios and along with the aforementioned players we've also got the usual suspects: Frankie Darro, Noel Neill, Warren Mills as the kind-of-campy Lee, and perky June Preisser; Jackie Moran was apparently on a real vacation when this was made.  Handsome Jim Hart plays "Big Jim," the foreman at the ranch, who gets the girls' juices flowing but may not be all he seems to be; Hart had a minor career primarily based on his looks but he amassed 168 credits! 

With his very nice voice and amiable screen presence, Freddie Stewart makes an impression singing the standard "Once in a While," but despite a few chuckles and spirited players, the movie has little else to recommend it. 

Verdict: More Teen Agers than you can shake a stick at! **.

THE CRIMSON KEY

Kent Taylor

THE CRIMSON KEY (1947). Director: Eugene Forde. 

Larry Morgan (Kent Taylor) is a none-too-successful private eye -- he still owes his secretary Daisy (Vera Marshe) several weeks of back salary -- who finds a much-needed client in Mrs. Swann (Bernadene Hayes). Mrs. Swann has sensed a distraction in her husband, Dr. Swann (Douglas Evans), and wants Larry to find out if he's seeing another woman or if it's something else. In rapid order, both Swann and his wife are soon murdered, but Larry decides to earn his retainer anyway and keep investigating. Riiiight. 

Doris Dowling and Kent Taylor

This brings him into contact with a number of suspects: entertainer Paris Wood (Ann Doran); her fiance Jeffrey Regan (Edwin Rand); artist Peter Vandaman (Ivan Triesault);  Dr. Swann's adoring assistant Miss Phillips (Victoria Horne); psychic psychiatrist Huntley G. Harlow (Milton Parsons of The Hidden Hand); his seductive confederate, Heidi (Louise Currie); the jealous Steven Loring (Dennis Hoey); and his attractive, dipsomaniac wife, Margaret (Doris Dowling). Everything seems to center on a key that was in the possession of the Swanns and may have secret information inside a locker. Larry has the usual love-hate relationship with the cop on the case, Captain Fitzroy (Arthur Space of 20 Million Miles to Earth). 

Dennis Hoey, Kent Taylor and Arthur Space

When Larry and his secretary learn that Dr. Swann has been murdered they express absolutely no sympathy for either him or his widow -- only dismay over the loss of a paying client -- so it is out of character for Larry to want to keep investigating just because the now-dead woman paid him several hundred dollars -- he would just go out and drink and let the cops do their job, which is what he first suggests to Mrs. Swann before her own murder. A bigger problem with the movie is that despite its complicated plot (with all the familiar elements of the genre) and relatively fast pace, it's so talky and dull. Taylor and the other actors -- especially Doris Dowling -- turn in perfectly good performances, but despite a satisfying conclusion this just doesn't work. The lack of a strong musical score is a another major deficit. 

Verdict: Private eye movie from 20th Century-Fox that never really catches fire. **. 

WHILE I LIVE

Audrey Fildes and Sonia Dresdel

WHILE I LIVE (aka The Dream of Olwyn/1947). Director: John Harlow. 

On the Cornish coast, young composer Olwyn (Audrey Fildes) lives with her older sister, Julia (Sonia Dresdel) while she tries to put the finishing touches to a composition entitled "The Dream of Olwyn." Unfortunately, Olwyn sleepwalks one night and winds up taking a header off of a cliff. Twenty-five years later Julia lives in the same house with her young cousin Peter (Clifford Evans), whom she raised, and his more practical wife, Christine (Patricia Burke). One evening into the household comes an unexpected visitor (Carol Raye), who claims she has no memory but has a connection to Cornwall and the family. Julia is convinced that this young lady is the reincarnation of her dead sister, but Christine is a little suspicious, leading to conflicts between her, her husband, and his somewhat domineering aunt. 

Clifford Evans and Patricia Burke

While I Live could have gone in several different directions -- oddly, no one wonders if this woman might be a con artist when you consider that Julia appears to be quite wealthy -- but what it offers the viewer (very little, in fact) is like a mild, forgettable episode of One Step Beyond stretched to 80 minutes! I won't give away any more of the film's flimsy secrets in case there are masochistic viewers who have a need to see virtually every bad British movie ever made (apparently I'm one of them!), but this has to be classified as a time-waster. You keep hoping something of real dramatic interest will occur but it never quite does. The acting is professional at least, with Tom Walls making the best impression as the house man Nehemiah. As for Olwyn's pleasantly romantic musical composition, it sounds like warmed-over Rachmaninoff but was composed by Charles Williams. 

Verdict: Based on a stage play that must have been equally dull. *1/2. 

BORN TO SPEED

Vivian Austin and Johnny Sands 

BORN TO SPEED (1947). Director: Edward L. Cahn. 

Johnny Randall (Johnny Sands) is the son of a race car driver who was killed on the track. His mother, Mrs. Randall (Geraldine Wall), is horrified at the prospect of her son following in his father's footsteps and tries to get the help of her late husband's old colleague, Breezy Bradley (Frank Orth) to dissuade him. But Breezy feels Johnny has the makings of a great midget-car racer and things get more complicated when Johnny falls for Breezy's niece, Toni (Vivian Austin billed as Terry Austin), who already has a sort-of boyfriend in rival driver Mike Conroy (Don Castle). Johnny winds up on the track in the guise of the Masked Racer. 

Johnny Sands and Geraldine Wall

Born to Speed is a fast-paced PRC programmer that benefits from some pretty good racing footage, but to say the movie is cliched and mindless is a major understatement.  The performances help a lot, with handsome Sands quite appealing as Johnny and Vivian Austin displaying sauciness if not a lot of sex appeal as Toni. Geraldine Wall had several flavorful appearances on Perry Mason some years later, and likable and adept Frank Orth had nearly 200 credits in his long career. Don Castle had quite a few credits as well, one of them being Roses Are Red. If anything Born to Speed makes clear that racing is perhaps one of the stupidest ways to make a living! 

Verdict: Another PRC non-winner. **. 

RAILROADED

Hugh Beaumont

RAILROADED (1947). Director: Anthony Mann. 

Steve Ryan (Ed Kelly) is falsely accused of robbery and the murder of a police officer when the real culprit is nasty hood Duke Martin (John Ireland). Duke's hard-as-a-hooker girlfriend, Clara (Jane Randolph), fingers poor Steve, but even she begins to develop a conscience when other witnesses wind up murdered. Sgt. Mickey Ferguson (Hugh Beaumont), a cop from the old neighborhood, has to arrest Steve, incurring the wrath of Steve's feisty sister, Rosie (Sheila Ryan), who begins a relationship with Duke to ferret out information. Meanwhile Mickey hopes he can get a love-sick but frightened Clara to turn on her boyfriend and tell the truth. 

John Ireland and Jane Randolph

Railroaded is an absorbing if minor entry in the film noir genre, bolstered by some good performances. Although best known as a kind of bland father on Leave It to Beaver, Beaumont was generally good playing cops, private eyes, and especially bad guys in low-budget melodramas like this one. Randolph and Ryan, who have a fairly zesty cat-fight at one point, are both effective as the ladies in the story, and Ireland makes a convincing villain. Steve Ryan is fine as the decent guy accused of a terrible crime, but he only appeared in two other pictures. Keefe Braselle plays another guy who took part in the robbery, and Roy Gordon [Attack of the Fifty Foot Woman] is a mob boss who gives Duke his orders; both are good. From PRC (Producers Releasing Corporation). 

Verdict: Lower case film noir with some interesting performers. **1/2.