THOSE B MOVIE SERIES FROM BOSTON BLACKIE TO THE WHISTLER

Chester Morris as Boston Blackie

This week GREAT OLD MOVIES looks at those venerable B movie series from the golden age of Hollywood (and elsewhere). I define a "B" movie as one that generally has a running time of between fifty to eighty minutes, and a B movie series as a group of films featuring the same character. Most of these films played on the bottom half of a double-bill, or two were lumped together for an afternoon at the movies. There have been a lot of movie series from different studios -- MGM, 20th Century-Fox and Columbia down to the "poverty row" studios like Monogram and PRC. Among the more famous series were *Andy Hardy, Henry Aldrich, The Jones Family, and on the thriller side of the spectrum, Charlie Chan, Sherlock Holmes, The Falcon, Mr. Wong, Inner Sanctum, Michael Shayne (with Lloyd Nolan and then Hugh Beaumont), and others. (All of the classic Chan and Holmes movies -- the very best of the mystery movie series -- have been reviewed on this blog and you can find them by using the search bar on the top left corner.)

Among the series we're looking at this week are Boston Blackie; the similar Lone Wolf series; Jungle Jim/Johnny Weissmuller; Philo Vance; Mr. Moto; and the Whistler, not to mention Dr. Mabuse from Germany. Philo Vance started out as a top-drawer series starring William Powell, but degenerated into a cheaper series for PRC. The Whistler movies all starred Richard Dix in a variety of roles and were based on the old radio program. Boston Blackie and the Lone Wolf starred, respectively, Chester Morris and Warren William, but later entries, not really a part of the main series, starred other actors. Dr. Mabuse began life in a series of films by Fritz Lang, dating back to the silent period, but these, too, degenerated into ersatz spy movies by the sixties. Johnny Weissmuller played Jungle Jim in a slew of features (and later a TV series) until the studio temporarily lost the rights to the character and he simply played himself in the last four films in the series.

Many of these movies employed the same elements: gun-toting femme fatales; hoods with grudges; and most ubiquitous, police detectives who were always at odds with the (anti) heroes, thinking they were really crooks underneath no matter how many genuine bad guys they helped put away. As well, the cops were always much dumber than the heroes. A lot of directors who became famous later on, such as William Castle, cut their teeth on these "B" movies. Sometimes the choice of sidekick was key in making an entertaining series. For instance, for my money Eric Blore as the Lone Wolf's "Jamison" is far superior to George E. Stone's "Runt" in the Boston Blackie series.

* Of course the Andy Hardy movies were "A" movies aside from the very last.

THE CHANCE OF A LIFETIME

Chester Morris and George E. Stone as Boston and "Runt"

THE CHANCE OF A LIFETIME (1943). Director: William Castle.

"You've seen too many bad movies, Boston." -- Nails Blanton.

Ex-con and adventurer Boston Blackie (Chester Morris of Red-Headed Woman) importunes the prison board to release several men -- none of whom are what he terms "habitual criminals" -- so they can aid the war effort. Twelve of these test cases get jobs in a factory owned by Arthur Manleder (Lloyd Corrigan) and move in to Boston's apparently spacious apartment. Unfortunately, one of these men, Dooley Watson (Erik Rolf), is allowed to see his wife and child and uses the opportunity to try to get some money he stole years before. Also covetous of the money is Nails Blanton (Douglas Fowley of Behind Locked Doors), leading to a gun battle and Boston being accused of murder. Naturally Boston escapes from Inspector Farraday (Richard Lane) -- there's a good scene when he and his sidekick, the Runt (George E. Stone). descend in a dumb waiter as part of their getaway -- and later the two dress in drag to take the place of two inebriated scrub women (one of whom is Maude Eburne) to get at a safe in police HQ. An unusual feature of the flick is that aside from Dooley Watson's wife (Jeanne Bates of The Phantom) and Nail's briefly-seen, unnamed moll, there are no women in the film for Boston to dally with. Corpulent Cy Kendall, also briefly-seen, shows up as a character appropriately named Jumbo. The Chance of a Lifetime has an interesting premise but the film itself is tedious. As everything is spelled out for you in TV episode fashion, this has no surprises and hence little suspense.

Verdict: Sometimes the Boston Blackie movies work; sometime not. **.

ONE MYSTERIOUS NIGHT

Richard Lane as Inspector Farraday

ONE MYSTERIOUS NIGHT (1944). Director: Budd Boetticher.

When the famous Blue Star of the Nile diamond is stolen, Boston Blackie (Chester Morris) becomes a suspect. In an unexpected development considering their past relationship, Inspector Farraday (Richard Lane) deputizes Boston because he thinks he can solve the crime. He even says " From now on, no matter what happens, I'll never misjudge you again." Unfortunately, this is the only unusual or interesting thing that happens in the movie, which is saved primarily by the acting. Morris [Pursuit]  makes an excellent Blackie, and does a few impersonations, and the supporting cast includes Janis Carter [Slightly French] as reporter Dorothy Anderson; Mark Roberts (aka Robert E. Scott) as store employee George Daley; an utterly unrecognizable Dorothy Malone (in her brunette phase) as George's sister, Eileen; and William Wright, who would later play the Lone Wolf in one picture, as bad guy Paul Martens. The best performances seem to come from bit players: (Ms.) Early Cantrell as a switchboard operator; Anne Loos as a newsstand clerk; and Minerva Urecal [Gobs and Gals] as a clerk at a women's hotel. There's a quick laugh involving a Murphy bed in which Boston and the Runt (George E. Stone) are secreted. Like many of these programmers, this one has no real suspense or surprises.

Verdict: Not nearly "mysterious" enough. **.

ALIAS BOSTON BLACKIE

Chester Morris and Richard Lane

ALIAS BOSTON BLACKIE (1942). Director: Lew Landers.

Boston Blackie (Chester Morris) is at a prison putting on a Christmas show for inmates when he encounters Eve (Adele Mara of Back from Eternity), the desperate sister of convict Joe Trilby (Larry Parks.)  Joe insists that he was framed by two men, and contrives a way to escape from prison so he can get his revenge upon them. Boston, in the meantime, tries to catch up with Joe to prevent him from committing murder, even as Inspector Farraday (Richard Lane) tries to catch up with both of them. Boston holds a gun on a cop, locks him in a closet, impersonates a police officer, and so on, but somehow when everything is neatly resolved Farraday never presses charges on Boston, a man he's never trusted and always wants to arrest. Morris is fine, but the best performances come from Larry Parks [The Boogie Man Will Get You] and Paul Fix [The Bad Seed] as the cabbie, Cavarone. Cy Kendall gives one of his better performances in this.

Verdict: Ok BB entry. **1/2.

CONFESSIONS OF BOSTON BLACKIE

Joan Woodbury and Chester Morris

CONFESSIONS OF BOSTON BLACKIE (1941). Director: Edward Dmytryk.

"You have a little Gestapo in you."

Ex-thief Boston Blackie (Chester Morris) is again accused of murder when a shot rings out at an art auction, a man falls dead, and a young lady, Diane (Harriet Hilliard of Gals Incorporated), winds up in the hospital. As Blackie does his best to elude Inspector Farraday (Richard Lane), he discovers another problem in the form of ferocious Mona (the big-faced Joan Woodbury of The Time Travelers), who insists she's married to Boston and wants a big pay-off. Then there's a missing corpse, and a tense finale when Boston and others are trapped in an underground vault. The Boston Blackie series took a major leap forward with this second entry, with is superior to the first [Meet Boston Blackie] on nearly every level, with an excellent cast giving their all, and quite a few funny lines. In a brief bit Ralph Dunn makes an impression as Police Officer McCarthy, and there's another bit by a feisty old nurse who is, alas, uncredited; Lloyd Corrigan is also notable as the art lover Manleder. Morris hits just the right note as Boston -- as does George E. Stone as "the runt" -- and Woodbury looks as tall and tough as an Amazon.

Verdict: This one is fun. ***.

MEET BOSTON BLACKIE

MEET BOSTON BLACKIE (1941). Director: Robert Florey.

When Boston Blackie (Chester Morris of The She-Creature) comes to the rescue of a lady, Marilyn Howard (Constance Worth), being bothered by a man on a cruise ship, the man is later found dead in Blackie's cabin. A worse fate befalls the lady herself in the Tunnel of Love, where spies and low lives are operating on the midway and especially around the freak show where a "mechanical" man (James Seay) provides a clue. Fleeing from Inspector Faraday (Richard Lane), Blackie commandeers the car of Cecelia Bradley (Rochelle Hudson of Strait-Jacket), and the two -- along with Blackie's associate, Runt (Charles Wagenheim) -- attempt to get to the bottom of things. Morris makes a swell Blackie, Hudson is perky if undistinguished, and the movie is an inauspicious debut to what would turn out to be a long-running series. Florey directed much better pictures, such as The Beast with Five Fingers.

Verdict: A lot of mostly uninteresting running around. *1/2.