X MARKS THE SPOT

Damian O'Flynn

X MARKS THE SPOT (1942). Director: George Sherman. 

Eddie Delaney (Damian O'Flynn of The Hidden City) is a private eye who is about to go into the Army. His father, Timothy (Robert Homans), is a beat cop who is shot to death when he confronts some suspicious characters at a warehouse. Eddie is determined to find out who murdered his dad, but he is warned by Police Lt. Bill Decker (Dick Purcell) that he can't become a vigilante no matter how he feels. When a suspect named Marty Clark (Jack La Rue) is shot and killed in his own nightclub, Bill arrests Eddie for the crime. In tried and true PI fashion, Eddie slugs Bill and takes off to solve the crime on his own. He has help from his "dream gal," Linda (Helen Parrish), a woman whose voice he has only heard when he asks for a song on the jukebox but who got involved in the murder when someone asked her to say there was a black-out and she tells everyone to turn out the lights. 

Helen Parrish and Damian O'Flynn

X Marks the Spot is a standard WW2 private eye melodrama that doesn't boast too many surprises. Not as rugged as other private dicks, O'Flynn still makes a reasonably appealing protagonist, and Dick Purcell is also good as the head cop on the case. Helen Parrish is acceptable as Linda but there are more interesting females in the movie, such as Lulu (Anne Jeffreys), who dallies with Marty, and Billie (Edna Harris), Linda's amusing older co-worker. The only other well-known cast member in the movie is Neil Hamilton, who plays a man who hires Eddie to find out who stole two empty trucks that belonged to his company.

O'Flynn with Dick Purcell

The motive behind everything may seem strange today but we have to remember that during WW2 rubber was a hot commodity. This is another movie that takes advantage of the fact that decades before the jukeboxes with which we are familiar, people in clubs could get tunes by calling up an exchange wherein the "d.j" would play records at a central location and pipe them out to different establishments (or something like that; it's a bit confusing, frankly). George Sherman also directed The Lady and the Monster. 

Verdict: Acceptable PI meller. **1/2. 

THE HIDDEN CITY

Johnny Sheffield and Sue England

THE HIDDEN CITY (aka Bomba and the Hidden City/1950). Director: Ford Beebe.

Dennis (Damian O'Flynn) and his driver Hadji (Smoki Whitfield) are taking nature shots of the jungle when they spot Bomba, the Jungle Boy (Johnny Sheffield) swinging by. They report this to Hassan Emir (Paul Guilfoyle), the leader of a place called the "Hidden City." Dennis wants to capture Bomba, more out of curiosity than any malevolence, but Hassan and his right-hand Abdullah (Charles La Torre) seem to want Bomba dead.

Haggard in the jungle: Sue England

Apparently they are afraid that Bomba may know the true origins of a young lady named Zidah (Sue England), an orphan who has been taken in by adoptive father, Raschid (Leon Belasco). Raschid is anxious to get in good with Hassan, so when the latter comes to choose a wife -- or slave -- from the girls of a nearby village, he is eager to offer Zidah. However, Zidah runs off and tries to set up housekeeping with Bomba in the jungle -- Bomba will have none of it. (It may be that in some shots Zidah looks old enough to be Bomba's mother, or that Bomba hasn't yet developed much interest in the opposite sex; English was 22 and Sheffield 19.)

Belasco, O'Flynn and Whitfield

The Hidden City is a standard Bomba adventure with some amusing moments and a fast pace courtesy of director Ford Beebe. Sheffield is charming, England  adequate, and Guilfoyle, and especially Belasco, make a decided impression in their roles. In one scene Abdullah savagely whips a prone Bomba, but neither the blows nor the teenager are seen in the frame. Although the title sort of promises some kind of mysterious adventure or locale, this doesn't quite materialize. The film is reasonably pleasant for Bomba and jungle movie enthusiasts. From Monogram.

Verdict: So-so Bomba adventure that moves too swiftly to wear out its welcome. **.