TOMORROW WE LIVE

Jean Parker, Rose Anne Stevens, Emmett Lynn

TOMORROW WE LIVE (1942). Director: Edgar G. Ulmer. 

Julie Bronson (Jean Parker of Lady in the Death House) comes home to her father, "Pop" Bronson (Emmett Lynn), who runs a cafe but is actually working for a gangster known as The Ghost (Ricardo Cortez). When the Ghost meets Julie he instantly decides that he must have her, but although she gets a little weak in the knees, she is in love with handsome Lieutenant Bob Lord (William Marshall), who has just enlisted. Besides dealing with competition for Julie's affections, the Ghost -- so-called because he's managed to cheat death more than once -- also must contend with a rival, Big Charlie, who we never actually see because he sends his henchmen to do his dirty work. Bob proposes to Julie, but there's a hiccup when she learns that the Ghost has something on her father that could send him back to prison.

William Marshall

Although released in 1942, Tomorrow We Live comes off like a movie made ten years earlier. It's not just that it's a cheap PRC production that was probably shot in two days with a budget of 10 cents, but that its script is creaky and the musical score hokey as hell. Aside from Parker and Rose Anne Stevens as waitress Melba, the acting is so perfunctory that it's as if the performers were handed their scripts right before they stood in front of the cameras. Both Cortez and Marshall have given much better accounts of themselves, such as in the film they teamed for five years later, Blackmail. Director Edgar G. Ulmer, who has also done much better work, films a lengthy fist fight entirely in long shot! Ultimately this is pretty dull.

Verdict: One of Ulmer's worst movies. *.  

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.