LET'S LIVE A LITTLE

Hedy Lamarr

LET'S LIVE A LITTLE (1948). Director: Richard Wallace.

Advertising man Duke Crawford (Robert Cummings) is fed up with women after dealing with his ex-fiancee Michelle Bennett (Anna Sten), a cosmetics queen. Michelle insists upon acting as if the two were still engaged, and Duke desperately needs her to sign a contract. Hoping for a male client, Duke decides to do publicity for a shrink who's written a book, but Dr. J. O. Loring (Hedy Lamarr) turns out to be a woman -- and what a woman! Finding Duke nervous and excitable, Dr. Loring takes him on as a patient, which does not sit well with her boyfriend, Dr. Field (Robert Shayne). Which woman will Duke ultimately wind up with?

Anna Sten and Hedy Lamarr

If Let's Live a Little works at all it is strictly because of the actors, all of whom give very good performances, but they are certainly let down by a script that strains to be funny. The screenwriter even resorts to using a variation of an old Marx Brothers line, with Duke telling Michelle "If I held you any tighter I'd be in back of you." A scene when the two rivals for Duke's affections sit at the same nightclub table could have been witty and scintillating, but falls flat instead. Most of the very few amusing moments in the picture are provided by Cummings, who is at home in this kind of material, whereas he was always miscast in dramas and suspense films. Lamarr is adept, and along with Sten and Shayne there are nice turns by Mary Treen [Swing Parade of 1946] as Duke's secretary and Norma Varden [Witness for the Prosecution] as Loring's nurse. Ernest Laszlo insures that gorgeous Lamarr looks luminescent throughout. Richard Wallace also directed Kiss and Tell.

Verdict: The actors try mightily to put this over but the material just isn't there. *1/2. 

BEHIND THE MASK

Kane Richmond as the Shadow

BEHIND THE MASK (1946). Director: Phil Karlson.

The day before Lamont Cranston's (Kane Richmond) marriage to Margo Lane (Barbara Read), he learns that an impostor has broken into the office of the Daily Bulletin and murdered blackmailing reporter Jeff Mann (James Cardwell). Angered by this impersonation, Cranston leaves the pre-wedding party to investigate, incurring the extremely childish wrath of his fiancee. To make matters worse, Margo's maid Jenny (Dorothea Kent) is just as shrill and immature as Margo is, and has a vendetta against her boyfriend, the hapless Shrevvie (now played by George Chandler).

George Chandler, Barbara Read, Kane Richmond

Behind the Mask might have been a decent mystery were it not for the fact that Monogram studios decided to combine the Shadow character with elements of screwball comedy, with the result that nothing really works. The antics of Margo and Jenny, who are constantly hitting their boyfriends, are so tiresome as to be excruciating, and pretty much crowd out any real entertainment value the picture might have had. Joseph Crehan, repeating his role as dyspeptic Inspector Cardonna, is too manic in this by far, and he also loves to keep hitting Cranston. There are a couple of aborted cat fights and more than enough scenes of Margo becoming hysterical because Cranston supposedly has other women's unseen lipstick on his face.

Marjorie Hoshelle with Bill Christy on left and Kent and Crehan on the right 

Chandler plays the role of Shrevvie more like a butler and assistant and is not as stupid as in the previous film, The Shadow Returns. Richmond is a perfectly okay actor who desperately needs a better script and a bigger studio. James Cardwell [The Shanghai Cobra] makes an impression as the rakish reporter Jeff and it's a shame he gets bumped off so early. Edward Gargan [Detective Kitty O'Day] provides the film's few moments of fun as a detective who's suffering from the flu and alleged hallucinations, and Marjorie Hoshelle [The Mask of Dimitrios] is very vivid and striking as Mae, who is mixed up in illegal betting. Robert Shayne is very young and good-looking in this but his performance is no great shakes, and poor Pierre Watkin is as blah as ever as the police commissioner and Cranston's uncle.

Verdict: This has little to do with the Shadow pulp stories. *1/2.  

FOOTSTEPS IN THE NIGHT

Eleanore Tanin and Douglas Dick

FOOTSTEPS IN THE NIGHT (1957). Director: Jean Yarbrough.

Henry Johnson (Douglas Dick) has been trying to overcome a gambling addiction so he can marry his sweetheart, Mary (Eleanore Tanin of The Werewolf). Unfortunately, Fred Horner (Robert Shayne), who lives next door to Henry, challenges him to a card game and Fred winds up dead. Henry insists that he's innocent and goes on the run even as Lt. Andy Doyle (Bill Elliott of Love Takes Flight) and Sgt. Mike Duncan (Don Haggerty) pursue Johnson, and other leads as well. Then it occurs to Doyle that the motel where Johnson and Horner lived has a name very similar to another motel where temporarily resides a businessman, Bradbury (James Flavin of Irish Luck), who always flashes a huge wad of cash ... Could the wrong man have been murdered? Footsteps in the Night is a short, cheap TV-type production that has little to distinguish it, aside from Shayne's good performance as the murder victim. The other cast members are all solid as well.  Elliott was basically a western star who later played cops; this was his last feature film and final credit of many. He did four other movies before this in which he played the same character (although he is named "Flynn" instead of "Doyle" in the first feature.) This movie is so cheap that when a car crashes into a wall at the climax, all we hear is the noise but the crash itself is never shown.

Verdict: Not much to recommend this stale cop drama. *1.2, 

THE STRANGE MRS. CRANE

Marjorie Lord

THE STRANGE MRS. CRANE (1948), Director: Sherman Scott (Sam Newfield).

Gina Crane (Marjorie Lord of Sherlock Holmes in Washington) is married to Clinton Crane (Pierre Watkin of a zillion movies), a gubernatorial candidate. Clinton is unaware that Gina used to be known as Jenny Hadley, and she was mixed up in shady business with old flame Floyd Durant (Robert Shayne). When Floyd tries to blackmail Gina, she stabs him, but the one who gets arrested for the murder is his girlfriend, Barbara (Ruth Brady). Then Gina winds up as the foreperson on the jury and does her best to get Barbara convicted! Marjorie Lord, who is best known as Danny Thomas' wife on the sitcom Make Room For Daddy, is competent but never really gets across the character's utterly ruthless nature, but the screenplay and the pic's short running time don't exactly help her, either. Poor Pierre Watkin is also competent as her husband but just as utterly undistinguished as ever -- was there ever a more bland if amazingly prolific actor in the movies? Robert Shayne [The Neanderthal Man] doesn't do much to make his unpleasant character come alive, but Ruth Brady is a bit more energetic as Barbara. James Seay [Meet Boston Blackie] is Barbara's lawyer, Mark; Claire Whitney is her employer, Edna; and Mary Gordon is the housekeeper, Nora. The plot is completely absurd, but the flick is entertaining and has a neat wind-up.

Verdict: You never know who you'll get on a jury! **1/2.

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. ***.

CAGE OF EVIL

CAGE OF EVIL (1960). Director: Edward L. Cahn.

Detective Scott Harper (Ron Foster) is bitter because he's been passed over again for a promotion, but the higher-ups feel the man is too free with his fists. Sexy blond showgirl Holly Taylor (Pat Blair) comes upon Harper in his disgruntled state, and cooks up a scheme for the two of them involving stolen diamonds and betrayal. The movie has a good script by Orville H. Hampton (although the narration is unnecessary), but what really puts it over is two very good lead performances from Foster and Blair [City of Fear]. Cahn's direction is typically undynamic. Robert Shayne [The Neanderthal Man], Henry Darrow, and Ted Knight are also in the cast.

Verdict: Rather absorbing low-budget crime drama with good performances. ***.

TRADER TOM OF THE CHINA SEAS

Khan (Jan Arvan) confers with Trader Tom ( Harry Lauter)

TRADER TOM OF THE CHINA SEAS (12 chapter Republic serial/1954). Director: Franklin Adreon.

In what is supposed to be the China seas but looks more like the coast of California, Trader Tom (Harry Lauter) is importuned to take over from a murdered special agent, James Dean (William Hudson), who was investigating smugglers who are trying to foment revolution in an Asian country by stirring up the natives; the leader of these bad guys is Tarent (Lyle Talbot, as professional and bland as ever). Captain's daughter Vivian (Aline Towne) joins with Tom to discover Tarent's hide-out and secret cache of munitions, which includes a deadly poison gas. The interesting thing about this serial is that Tom and Vivian are equal partners; she's just as brave as he is and just as likely to pull out a gun and start shooting at everyone, and Tom just seems to take it as a matter of course. When the action doesn't take place at sea or underwater -- in chapter three Tom must fight off a fat murderous fellow as his air supply is running out -- it's in the mythical country where Tom has a secret meeting with the leader Khan (Jan Arvan). This is one of the last of the Republic serials, and it's as smooth, fast-paced and entertaining as most of their product, if decidedly on the minor side. "Handsome" Harry Lauter is fine as the hero, Towne is game for anything, and Robert Shayne, Tom Steele, and Victor Sen Yung are also in the cast. Lauter had about a zillion credits and Towne was also busy, appearing in such serials as Don Daredevil Rides Again and Radar Men from the Moon.

Verdict: Standard Republic serial is nevertheless fun. **1/2.

NOBODY LIVES FOREVER

NOBODY LIVES FOREVER (1946). Director: Jean Negulesco.

Nick Blake (John Garfield) is fresh out of the army, and discovers his girl, Toni (Faye Emerson) hasn't exactly been idle during his absence. He leaves for Los Angeles with his buddy Al (George Tobias), and is offered a lead role in a new scheme by fellow low-life, Doc (George Coulouris): he is to romance a recently widowed and wealthy woman named Gladys (Geraldine Fitzgerald) with the aim of parting her from her newly-acquired dough, a percentage of which he'll turn over to Doc and his racketeer cronies. But what happens if Nick genuinely falls in love with Gladys? Nobody Lives Forever is a surprisingly dull suspense drama with a shoot 'em out climax that seems to last an hour. Garfield is fine, but his character is unreal and uninteresting, and while Fitzgerald gives a good performance as the very naive and lady-like Gladys, it has no spark or fire, and neither does her character. The whole story is contrived and unbelievable in many respects to start with. George Coulouris (Womaneater; Citizen Kane) is excellent but George Tobias is irritating and adds absolutely nothing to the picture. Emerson [Lady Gangster], Walter Brennan [A Stolen Life] and Robert Shayne [The Neanderthal Man] are all fine in smaller roles. Again Brennan plays a character who is much older than he was at the time of filming.

Verdict: Phony and lifeless. **.

HOW TO MAKE A MONSTER

HOW TO MAKE A MONSTER (1958). Director: Herbert L. Strock.

"An artist must have no fear."

When make up artist Pete Dumond (Robert H. Harris) is let go by the studio because new executives claim horror films aren't making any money, he hypnotizes the actors playing a teenage Frankenstein (Gary Conway of Burke's Law) and werewolf (Gary Clarke of Missile to the Moon and Michael Shayne) into murdering his bosses. Dumond metamorphoses from a kindly professional into a nasty maniac who slaughters anyone who gets in his way. Robert Shayne plays an agent; Morris Ankrum is a cop; Malcolm Atterbury is a security guard; and Thomas Browne Henry plays a director. John Ashley plays himself in a brief musical guest appearance. The last ten minutes, which are in color, feature a lot of Paul Blaisdell creations hanging in Dumond's workshop as examples of his art. In his only starring role in movies, Harris -- a busy television actor of the period --  is excellent, and Paul Brinegar is fine as his cowering assistant Rivero. As you would expect, the make ups are great.

Verdict: Fun primarily because Harris delivers. ***.

THE FACE OF MARBLE

THE FACE OF MARBLE (1946). Director: William Beaudine. 

In an isolated country manor two doctors experiment with bringing the dead back to life. Dr. Randolph's (John Carradine) wife Elaine (Claudia Drake) is falling for his assistant David (Robert Shayne), even though he has a fiancee, Linda (Maris Wrixon), who comes for a visit at Randolph's request. Then there's Elaine's overly faithful old family retainer Maria (Rosa Rey), who practices voodoo and wants Linda out of the way, causing disaster. The title comes from the fact that when the doctors try to bring a drowned sailor back to life he has a stark white face, a "face of marble." When Randolph experiments with Elaine's pet dog, Brutus, the animal comes back to life with the highly illogical ability to walk through walls and a craving for blood. The problem with this oddly compelling horror film is that its many disparate elements don't quite jell. Willie Best is the butler, Shadrach, and Thomas E. Jackson is Inspector Norton. The funniest scene has Elaine giving a lingering birthday kiss on the mouth to David right in front of her husband. The acting is competent but little else. Neither Drake nor the oddly-named Maris Wrixon had many subsequent credits, although Wrixon had amassed quite a few previously. 

Verdict: Stupid but interesting. **1/2.

THE NEANDERTHAL MAN

THE NEANDERTHAL MAN (1953). Director: E. A. Dupont. 

A sabretooth tiger is on the loose in the High Sierras, but Professor Clifford Groves (Robert Shane aka Shayne/pictured) scoffs violently at the very idea. Or doth he protest too much? One old hunter takes the cast he made of the beast’s footprint to Dr. Harkness (Richard Crane) who has a similarly hostile reaction – but his curiosity is ignited and he heads for the High Sierras to investigate. But what’s this? – who is that awful ape-like creature stalking the mountains and tearing up hunters? The make up for the neanderthal man is a bit comical but otherwise not bad. For a cheapie creepy this has rather good acting. Both Doris Merrick and Joyce Terry play with conviction as, respectively, the professor’s fiancee and daughter. Shane spits out his venomous, condescending remarks to his fellow scientists with decided flair, and etches a convincing portrait of a scientist who’s rapidly going cukoo. Richard Crane isn’t much of an actor, however. Beverly Garland turns in her usual professional job as a waitress who is traumatized by the monster. Albert Glasser’s intense score is a big plus. Undoutedly this influenced the later Monster on the Campus which also had creatures and people reverting to prehistoric forms. 

Verdict: Late night time-passer. ***.

INDESTRUCTIBLE MAN

INDESTRUCTIBLE MAN (1956). Director: Jack Pollexfen.

Charles "Butcher" Benton (Lon Chaney Jr.) isn't having a very good day. Arrested for a payroll robbery and murder, his two partners in the crime roll over on him and his own lawyer is the mastermind of the plot. However, things look up after he's executed, when his body is delivered to a scientist, Professor Bradshaw (Robert Shayne), who is trying to find a cure for cancer. For some reason Bradshaw treats Benton's corpse to an electrical process that inadvertently brings the dead man back to life -- mute. With super-strength and invulnerability to bullets and what-not, Benton proceeds to go after the ones who done him wrong. Max Showalter is the detective on the case, and Ross Elliott is the Lawyer, Paul Lowe. Ken Terrell, who played butler Jess in Attack of the 50 Foot Woman, is one of Benton's victims. The cast is professional enough, and Chaney -- although he only speaks in the opening sequence -- gives one of his better, more intense performances. Marian Carr is very appealing as the dancer, Eva Martin, who once befriended Benton; she was also in Kiss Me Deadly. Marjorie Stapp makes an impression as a woman whose boyfriend is murdered by Benton right in front of her. (She was also in The Monster that Challeneged the World -- as was Showalter -- Daughter of Dr. Jekyll, and other genre films.) Joe Flynn of McHale's Navy has a small role as Shayne's assistant. Elliott was a busy actor of the period and appeared in The Beast from 20,000 Fathoms. Albert Glasser's dramatic score is a definite asset to the picture. The narration is unnecessary but there is a good use of locations. Exciting climax in the sewers.

Verdict: Entertaining, taut little thriller. ***.