THE FLAME

John Carroll and Vera Ralston

THE FLAME (1947). Director: John H. Auer. Colorized. 

George MacAllister (John Carroll of Zorro Rides Again) is in love with a nurse named Carlotta (Vera Ralston), who happens to be looking after George's supposedly dying brother, Barry (Robert Paige of Hellzapoppin). Carlotta marries Barry with the full approval of George, who is hoping to wrest his brother's fortune away from him. Complicating matters are another gal pal, Helena (Constance Dowling), and a guy with a big crush on her, Ernie (Broderick Crawford of All the King's Men). Then there's the termagant Aunt Margaret (Blanche Yurka), who casts a dim eye on Carlotta and Barry's marriage. Which of the two brothers will Carlotta ultimately wind up with, and which will be alive at the end? 

Robert Paige and Ralston

The Flame is an interesting if flawed bit of film noir from Republic Studios starring Ralston, the wife of the studio head. She seems to give a more convincing performance in this than in other films, although she'll never be seen as another Barbara Stanwyck. Carroll is excellent, however; Paige is somewhat less notable but good enough, Yurka scores as the aunt, and Crawford and Dowling nearly walk off with the movie. Crawford proves that there's much more to him than Highway Patrol, and Dowling does a snappy and sexy song and dance number in a nightclub. The generally unpredictable film keeps throwing curveballs at the viewer when it comes to the inter-relationships of the characters. Victor Sen Yung is a breath of fresh air and is very effective as George's manservant, Chang. There's also good work from Henry Travers as a doctor and Hattie McDaniel as a cheerful domestic. Reggie Lanning's cinematography and Heinz Roemheld's score are added attractions. It is never specified exactly what is wrong with Barry and he never seems to be "dying" or even ill. Much of the story takes place at Manhattan's tony Hampshire House on Central Park West, which is still standing today. 

Verdict: Some more character development might have helped, but this is intriguing enough in its own way. **3/4. 

TAHITI HONEY

Dennis O'Keefe and Lionel Stander

TAHITI HONEY  (1943). Director: John H. Auer.

In Tahiti just before Pearl Harbor, bandleader Mickey Monroe (Dennis O'Keefe) decides he needs a woman for the act, although previous songbirds have only caused trouble for the band. Mickey hires Suzette (Simone Simon), who agrees to join his team because he tells her he can get her to the U.S. The other band members are against taking her, but Mickey appeals to their sympathy by saying she wants to be reunited with her soldier fiancee, Charlie. Mickey makes up so many phony letters that the band members all come to believe that "Charlie" actually exists. And then a real soldier shows up, Lt. John Barton (Michael Whalen), whom everyone thinks is Charlie. Suzette decides to go along with the deception, creating romantic feelings in John and jealousy in Mickey. Which man will she finally wind up with?

Dennis O Keefe and Simone Simon

Tahiti Honey is a typical Republic musical time-waster, although it's easy to take for most of its length until it eventually wears out its welcome. The songs are pleasant enough but not likely to stay in your memory. O'Keefe is excellent, an adept comic actor who makes the most of his role as a smooth-talkin' ladies man; you just wish he had better material. Simon (of Cat People fame and Girls' Dormitory) is cute and apparently dubbed -- her singing, that is. Lionel Stander, whom I usually can't abide, is not only very good but much less obnoxious than usual. Michael Whalen [Highway 13] is fine as the initially confused, then smitten, lieutenant. Simon made this movie in between her most famous feature, Cat People, and its sequel. Her American career never really took off.

Verdict: O'Keefe fans may enjoy this, but not recommended for anyone else. **1/4. 

HELL'S HALF ACRE

HELL'S HALF ACRE (1954). Director: John H. Auer.

Donna Williams (Evelyn Keyes) has always thought that her husband of a short time died during the war. But then she sees a story about a man named Chet Chester (Wendell Corey) who has been arrested for murder in Hawaii and who greatly resembles the dead man. Chester is a deserter, black marketeer, and shady criminal, and when Donna confronts him he insists that he is not her husband. Can Donna get the man she apparently still loves to tell the truth? Meanwhile her poking her nose into Chet's business is bringing her to the attention of assorted nefarious elements. "Hell's Half Acre" refers to a dangerous, crime-infested section of Honolulu where much of the action takes place. While the movie has an intriguing premise, Hell's Half Acre isn't very good. Knowing what she knows about "Chet," it seems incredible that she wouldn't just walk away from the creep, especially when she finds out he was a deserter. The scenes between Donna and Chet don't work because the two actors just walk through their roles, perhaps because even they weren't convinced by the script. Philip Ahn plays a gangster who slaps around Marie Windsor, and Elsa Lanchester [Les Miserables] is a spirited lady cab driver. Keye Luke is the police chief, and Jesse White, annoying and unimpressive as ever, plays another hood who comes to a bad end. Windsor [Swamp Women] probably comes off the best with her typically vital portrayal. John H. Auer also directed The Crime of Dr. Crespi and quite a few melodramas and musicals.

Verdict: Not half as interesting as it sounds. **.

RHYTHM IN THE CLOUDS

RHYTHM IN THE CLOUDS (1937). Director: John H. Auer.

Aspiring and audacious (and hungry) songwriter Judy Walker (Patricia Ellis of Romance on the Run) uses the name of successful composer Phil Hale (Robert Paige), with whom she has only corresponded, to get entry into a studio, pretend to be his collaborator, and to even move into his apartment while he's out of town. There her next door neighbor, songwriter Bob McKay (Warren Hull of Mandrake the Magician), whom she comes to loathe, engages in a feud with her. Then Hale comes back to town ...  Ellis and Hull give good performances, but the movie is nearly stolen by Zeffie Tilbury [Werewolf of London] as the advertising "Duchess; William Newell also scores as the radio assistant, Lyons. Dorothy Day has a nice turn as the sexy singer, Suzanne. Some of the music is a neat combination of classical and jazz. It's all easy to take if quite minor.

Verdict: Perfectly amiable if nothing to crow about. **1/2.

THE CRIME OF DR. CRESPI

Erich von Stroheim as Dr. Crespi

THE CRIME OF DR. CRESPI (1935). Director: John H. Auer.

Supposedly based on Poe's "Premature Burial," this film is only vaguely inspired by that story. Dr. Andre Crespi (Erich von Stroheim, the butler in Sunset Boulevard) is importuned to step in when his former protege, Stephen (John Bohn), is severely injured in a car accident. Stephen, now married to the lovely Estelle (Harriet Russell), was unaware that Andre was carrying a torch for her. Crespi manages to save Stephen's life, but only to save him for a diabolical plot as he's never forgiven him for taking Estelle away from him [it never occurs to Crespi that Estelle would probably not have wanted him even if Stephen hadn't entered the picture]. Crespi gives Stephen a drug which allows him to see, hear and feel everything, but won't allow him to "move an eyelash," then plans for him to be buried alive ... In his performance Stroheim alternates a bombastic delivery with lines that are casually whispered; he rarely even seems to be acting. Although it's not quite a terrible performance, he does much less with the role than actors such as Lionel Atwell or George Zucco could have. [Stroheim could give some good performances however, such as in I Was an Adventuress.] Harriet Russell is an excellent actress with a very expressive face, but she apparently only made this one movie. Dwight Frye of Dracula appears in a supporting role as a staff doctor and is as eye-poppingly intense as ever.

Verdict: Acceptable horror-melodrama. **1/2.