KISS TOMORROW GOODBYE

KISS TOMORROW GOODBYE (1950). Director: Gordon Douglas.

Ralph Cotter (James Cagney) escapes from prison with the help of Holiday Carleton (Barbara Payton), the sister of another inmate, who dies during the break out. With the help of a shifty lawyer named Mandon (Luther Adler), Cotter blackmails a corrupt police inspector named Weber (Ward Bond) into using his resources into committing crimes. All goes smoothly until Cotter falls for Margaret Dobson (Helena Carter), the wealthy daughter of a powerful man ... This is a rather fascinating suspense/crime film, bolstered by excellent performances from the entire cast. Cagney is as mesmerizing as ever, and the tragic Payton, whose private life often overshadowed her acting achievements, proves that she did have genuine talent. The scene when she clings to Cagney and intones "I'm so alone, I'm so alone" is quite affecting. Helena Carter is also quite good in a less showy role. The force of the ending is a bit blunted by the production code, but this is still a very entertaining movie. Kenneth Tobey from It Came from Beneath the Sea, John Litel, and Barton MacLane are also in the cast, and William Frawley from I Love Lucy scores as a nasty if good-humored prison guard.

Verdict: Nifty crime drama with outstanding lead performance and highly creditable supporting cast. ***.

MURDER IS MY BEAT

Barbara Payton and Paul Langton

MURDER IS MY BEAT (1955). Director: Edgar G. Ulmer.

"I hate the blunt destruction of human life. I'd seen enough killing in the South Pacific. "

Detective Ray Patrick (Paul Langton) investigates when a man is found dead with his head burning in the fireplace. The most obvious suspect is a blonde named Eden Lane (Barbara Payton), who has run off to parts unknown. Patrick finds her in an isolated cabin, brings her back to justice, but on the train she swears that she just saw the alleged murder victim on the platform. Falling in love with Eden, Patrick risks his job and freedom by getting off with the woman and pursuing this lead just in case she is actually innocent. But is she? Murder is My Beat is a minor but engaging crime thriller with a good performance from Langton [The Big Knife]. Payton [Bad Blonde] is not bad, but she seems so subdued at times that she almost appears to be drugged. Tracey Roberts is vivid as a friend of Eden's; Roy Gordon has a bigger role than usual as a businessman who was acquainted with Eden; and Robert Shayne [Cage of Evil] is okay as the police captain who looks for Patrick, as is Selena Royle as Gordon's wife. The perfect evocation of a cheap paperback thriller that keeps you turning pages nonetheless.

Verdict: Langton is a large part of why this works. ***.

BAD BLONDE

The two beautiful blonds of "Bad Blonde"

BAD BLONDE (aka The Flanagan Boy/1953). Director: Reginald Le Borg.

Handsome amateur boxer Johnny Flanagan (Tony Wright) gets a shot at the big time when he's taken under the wing of promoter Giuseppe Vecchi (Frederick Valk). Unfortunately, Johnny is greatly disturbed by the presence of Vecchi's sexy and much younger wife, Lorna (Barbara Payton of Kiss Tomorrow Goodbye), and after initial animosity she can't help but notice the hunky boxer. This leads to expected complications, none of which are especially entertaining. This is the kind of old-fashioned, even sexist movie where the deplorable actions of a "nice guy" are blamed exclusively on the influence of an "evil" woman [attitudes which are still prevalent in some quarters even today]. Although Payton was better known for the scandals she got embroiled in than for her movies, she was not a bad actress and is fine in this, although not given a very dimensional role to play. Wright's inexperience is obvious, but he has his moments as well and Valk is good as the cuckolded Italian. Movies like this should at least be fun to watch but this is just tedious, and even the sexy leads can't save it. Le Borg, whose direction on this is quite stodgy,  also directed Voodoo Island and many other B movies. This was another Hammer studio crime drama released in the U.S. by Lippert.

Verdict: A far cry from The Postman Always Ring Twice. *