DOUBLE DEAL

Richard Denning and Marie Windsor

DOUBLE DEAL (1950). Director: Abby Berlin.

Buzz Doyle (Richard Denning), a new arrival in town, almost immediately winds up embroiled with two warring women. Terry (Marie Windsor) wants Buzz to work with her and her friend Reno (Carleton Young) on an oil well that she hopes will turn into a gusher. Meanwhile, Reno's sister, Lily (Fay Baker), who hates her brother because she feels he was responsible for her lover's death, tries to lure Buzz over to her side and work against the others. Then there's a murder or two, and the surprise unveiling of the killer. Double Deal is distinctly minor, but it features some likable players, and there's especially zesty work from Baker [The Star], Taylor Holmes [Caged] as the drunken if helpful, "Corpus" and James Griffith [The Amazing Transparent Man] as the slimy Walter Karnes, Lily's plaything. Thomas Browne Henry plays the cop on the case.

Verdict: Ho hum meller that doesn't even have a decent "cat fight" between the ladies. **.

THE HOUSE ON TELEGRAPH HILL

THE HOUSE ON TELEGRAPH HILL (1951). Director: Robert Wise.

Hoping to have a chance at a new life in America, a woman who calls herself Karin (Valentina Cortese) has taken the identity of a deceased lady whom she befriended in a concentration camp. The real Karin has not seen her little boy, Chris (Gordon Gebert), in many years, and the false Karin winds up married to his guardian, Alan Spender (Richard Basehart), and playing mother to the child. The fourth member of the San Francisco household is the housekeeper and nanny, Margaret (Fay Baker), who seems to resent the other woman's intrusion. Taking another person's identity always has bad consequences in movies -- think No Man of Her Own -- and House on Telegraph Hill is no exception, as Karin finds herself embroiled in sinister events and terrified that someone is out to kill her -- or the boy. The best scene in the movie has Karin driving to the store when her brakes fail. Cortese [Thieves' Highway] is fine, as is William Lundigan as a major who takes an interest in Karin, but Richard Basehart [Voyage to the Bottom of the Sea] underplays way too much in key sequences, and the climactic scenes don't quite work, in part because of this. Arguably Baker gives the most vivid performance in this, even if she also seems a bit perfunctory at important moments. This is not one of Robert Wise's more memorable directorial jobs. Little Gordon Gebert gave a superb performance in Chicago Calling that same year, and is charming in this.

Verdict: Not quite satisfying suspense film. **1/2.

THE COMPANY SHE KEEPS

Jane Greer and Lizabeth Scott

THE COMPANY SHE KEEPS (1951). Director: John Cronwell.

NOTE: Some plot points are revealed in this review. Diane (Jane Greer) is released from prison after passing bad checks and the like, and is assigned to parole officer Joan (Lizabeth Scott). Diane resents kindly Joan from the first, and makes a major play for Joan's boyfriend, Larry (Dennis O'Keefe of Hold That Kiss), which the big lug falls for. Before long Larry and Diane are in love, but they need Joan's approval to marry ... what a weird situation. The problem with The Company She Keeps is that the two lovers are pretty unsympathetic, with Diane returning Joan's friendship by stealing her boyfriend, and Larry betraying the faithful [if eternally busy] Joan, who is too sweet for words -- or reality. Fay Baker [The Star] plays another parolee who works with Diane as a nurse, and Gertrude Hoffman [My Little Margie] has a silent role as a woman on the parole board. Paul Frees is a judge's clerk and Great Old Movies' favorite Kathleen Freeman plays another parolee. Jeff Bridges and his brother Beau supposedly appear as an infant and a small boy. Given Diane's essential nature, it's unlikely that the "happy" ending for this couple is going to last. The acting is generally solid.

Verdict: These two lovers deserve each other. **.

NOTORIOUS

Cary Grant and Ingrid Bergman

NOTORIOUS (1946). Director: Alfred Hitchcock.

Alicia Huberman (Ingrid Bergman) is the daughter of a German-born traitor who is imprisoned after a trial. The government, in the person of Devlin (Cary Grant), persuades Alicia to spy for them on an old admirer, Alexander Sebastian (Claude Rains), who is one member of a Nazi enclave in Rio, where he lives in a big house with his termagant mother (Leopoldine Konstantin). Although Devlin is falling in love with Alicia and vice versa, he can't forget her past as a good-time party girl and, not wanting to get hurt, keeps throwing it at her. [One has to suspend disbelief over the whole business of a government agent having a relationship with a woman  for which he is an official liaison!] Each victims of their own pride, neither Alicia nor Devlin protest when it is suggested that she actually marry Sebastian so she can enter the household itself and accrue more information as to their plans. But if Sebastian or his mother should find out the truth ...? Bergman, Grant, and Rains -- not to mention Konstantin and the supporting cast -- all give excellent performances in this smooth Hitchcock thriller with a tense, rewarding climax. Hitchcock subtly maintains a sinister aura greatly aided by Rains and Konstantin and their unpleasant associates. Fay Baker, playing a partying friend of Alicia's, was Bette Davis' greedy sister in The Star and was a Mother-from-Hell in Sorority Girl.

Verdict: Definitely a strange romance with a fascinating heroine. ***1/2.