DANTE

Alan Mowbray and  Howard Duff

DANTE (1960). Created by Blake Edwards.

"You might even find that honesty's fun!"

This TV show with an interesting premise lasted just one season. Willie Dante (Howard Duff) is a gambler who has spent some time in jail. He is now determined to go straight, and with two former confederates, Stewart (Alan Mowbray) and Biff (Tom D'Andrea), goes into the nightclub business, opening a place called Dante's Inferno. Of course many customers and cops think Dante is up to his old tricks and wonder where he's hiding the roulette wheel. People from his past -- old cronies, old crooks and old girlfriends -- keep popping up at Dante's, and he's usually suspected of being involved in whatever crime -- be it jewel robbery, blackmail or murder -- that has embroiled the people who come to him for help. [Dante is a little reminiscent of another show entitled Mr. Lucky, which debuted the year before.] While the show was well-acted and had some interesting stories, it never quite takes off, and that's probably due to star Duff. Duff is actually quite good as Willie Dante, suitably gruff and tough as the man probably would be, but even when he's romancing the ladies Duff lacks charm and that all-important likability, which might have kept more people tuning in each week. [I mean, I've never heard anyone say they were a Howard Duff fan or "loved" Howard Duff.] Mowbray and D'Andrea are fine as, respectively, the maitre'd and bartender, as is Bert Frees as Sgt. Rickard.

Among the better episodes: "One for the Birds" involving blackmail is an excellent and suspenseful story; "Dial D for Dante" has the restaurateur with a $50,000 price on his head; everyone thinks Dante knows the location of some stolen loot in "Dante Rides Again" (with a sterling guest-starring performance from Nita Talbot); Charles MacGraw is excellent as a cop who thinks Dante is responsible for his brother's death in "Hunter with a Badge;" someone else goes gunning for Dante in "Friendly Assassin;" and in "The Sesame Key" the cops think a series of cat burglaries are somehow tied to Dante's Inferno. This episode guest-stars both Joan Marshall (AKA Jean Arless of Homicidal fame) and Nora Hayden of The Angry Red Planet; both are quite good. Other notable guest-stars include Allison Hayes, Carol Ohmart, Mary Jane Croft, Patricia Medina, William Hudson, Andrea King, Ed Platt, Ruta Lee, Dick Foran, and an especially good Marion Ross. Most of the teleplays were written or co-written by Harold Jack Bloom.  

Verdict: An entertaining show that just misses being special. **1/2.

GANGBUSTERS

GANGBUSTERS (1942). Directed by Ray Taylor and Noel Smith.

Based on the radio show of the same name, this is one of the very best Universal serials, with a fast-pace, rapid editing, an effective musical score, and plenty of two-fisted action throughout. Ralph Morgan plays Professor Mortis (his I.D. is revealed in the first chapter), who is out for revenge against the city authorities (this is supposed to be New York but looks more like the typical Hollywood back lot). He is the head of the League of Murdered Men, allegedly bringing various gunsels back to life and keeping them alive with pills that enforce their loyalty. Kent Taylor is the stalwart detective Bill Bannister, and Robert Armstrong is his associate Tim Nolan (as usual Armstrong pretty much just plays himself). Irene Hervey is the intrepid girl reporter. There’s some good character actors in supporting roles but William Haade makes the biggest impression as Mike Taboni, a hood who murders Bannister’s kid brother, commits "suicide," and is revivified by Professor Mortis.

Although pretty much a dim bulb, Taboni is smart enough to ask Mortis who brought him, Mortis, another "suicide," back to life. "An intelligent question," says Mortis, "One best left unanswered." Understandably. I believe we never learn who’s sending Mortis all those notes delivered by the newsboy, either. There are some good cliffhangers in this serial, including one in which a car plunges several stories down a shaft, and a bit involving Hervey switching from the running board of one car to another. The pace never flags. An amusing aspect of the serial is that the secret entrance to the gang’s underground HQ is a trapdoor located right in the middle of the subway tracks. Of course, placing the trapdoor off to the side of the tracks would eliminate the danger as well as the ending that you know is coming. It’s interesting that instead of doing brief recaps at the start of each episode, the serial instead inserts brief new sequences that help the audience catch up with what’s going on – a nice touch. This may not quite be in the "classic" league, but it’s certainly a pretty good serial. And from Universal, no less.

Verdict: Good show! ***.

I WAS AN ADVENTURESS

I WAS AN ADVENTURESS (1940). Director: Gregory Ratoff.

Peter Lorre and Erich von Stroheim are con artists who work with a pretty phony countess named Tanya (Vera Zorina, pictured) to fleece the gullible of money and jewelry. But Tanya falls for her latest target, Paul Vernay (Richard Greene), marries him, and runs off, hoping to avoid the grasping, greedy fingers of von Stroheim and his lovable "kleptomaniac" buddy Lorre. Of course the two catch up with her, causing the expected complications. The acting is good -- especially von Stroheim and Lorre -- but the movie isn't memorable. Fritz Feld plays one of the early victims of the trio. Tanya is a ballet dancer as well as a thief so we see her dancing in Swan Lake (Zorina was herself a ballet dancer). This tries hard to be a frothy, light-hearted concoction, but it doesn't quite work. Zorina is pretty and competent but a bit too bland. Even more vivid actresses such as Crawford or Stanwyck might have had trouble making this third-rate material come alive, however.

Verdict: Read a book instead. *1/2.

QUICKSAND

QUICKSAND (1950). Director: Irving Pichel.

Probably trying to change his image and show his range the way song and dance man Dick Powell did years before, Mickey Rooney starred in this film noirish thriller about a mechanic who winds up on the run from police after meeting a tough blond with expensive tastes. Rooney is loved by a good brunette (Barbara Bates), but is more fascinated by the zesty blond (Jeanne Cagney) who lusts after a two thousand dollar fur coat. Rooney's troubles begin when he “borrows” twenty dollars from the till to take Cagney out on a date. Before long he's pawning watches he doesn't quite own, mugging drunks carrying wads of cash, stealing cars from his boss, breaking into arcades for the night's take, and strangling his employer. But the movie refuses to truly let Rooney be a bad guy even though it's clear that he is. His criminal actions aren't prompted by a desire to feed a starving family but by expediency; throughout the picture he consistently makes the wrong and most evil choices. SPOILER ALERT: Running off with the good brunette after presumably murdering his boss, he conveniently hijacks the car of a sympathetic lawyer and eventually learns that his employer is still alive. (“Men don't die easily,” the lawyer tells Rooney. “They take a lot of killing.”) At the unconvincing conclusion, Rooney assures everyone that he's ready to take what's coming to him, that he's essentially a “decent” person (who mugs, robs and “murders!”). In a part that could have been tailor-made for a young Cagney, Widmark or Garfield, Rooney acquits himself nicely, only resorting to stock good guy mannerisms – as if to redeem his unlikable character -- in the film's final quarter when the story goes completely awry and his formerly vital, emotionally-true thesping becomes perfunctory. The film's standout performance is from vivid Jeanne Cagney, who positively sizzles as the blond who's only out for herself. Equally good in a supporting part is Peter Lorre, who plays the arcade owner who's carrying a torch for former employee Cagney; he and Rooney have several good scenes together. Barbara Bates' mediocre acting proves beyond a doubt why little was heard of her after she appeared in this and at the ending of All About Eve the same year. The picture is well-directed and has an effective if unmemorable score by Louis Gruenberg, who decades before was composing operas for the Met.

Verdict: Not great but has its moments. **1/2.