Dick O'Clock

Casino manager Johnny O'Clock (1947) (Dick Powell) awakens to a mess of trouble. Nelle Marchettis (Ellen Drew), the wife of his business partner,a Pete (S. Thomas Gomez) has sent him an expensive watch with a tender endearment engraved on it. Harriet Hobson (Nina Foch), the hat check girl in his casino, is distraught -  her lover, police detective Chuck Blayden (Jim Bannon) has tired of her. Add to this, Police Inspector Koch (Lee J. Cobb) is nosing around his hotel lobby. Johnny's difficulties are just beginning.

This is a film that requires the kind of concentration that you have in a movie theatre, which makes watching it on a television a bit of a commitment. Several of us commented that we did appreciate the opportunity to run the film back and rewatch certain scenes to clarify our questions. But the plot is dense, and though it all ties together in the end, there are periods when you feel like something has been dropped from the action.

Dick Powell is excellent as the titular hero of the piece, a man with a heart who camouflages it with brusque repartee. This was his third appearance as a noir leading man, and he commands the screen. The introductory scenes to the film outline the complexity of the man who now calls himself Johnny O'Clock - there is a subtlety to this opening that negates the fact that these are the background aspects of of the film.

Evelyn Keyes  is also convincing as Nancy Hobson, the sister of the sad Harriet. We felt that during much of the film, Ms. Keyes was able to keep you in doubt as to her motives and next actions, which worked well for the character.  Her autobiography noted the constant changes that were being made to the script by first time director Robert Rossen (TCM article). We wondered if Mr. Rossen's neophyte status as a director (and the ongoing alterations) caused some of the density in the storyline (AFI catalog).

The film opens with Lee J. Cobb visiting the hotel residence of Johnny but it's really not clear WHY he is there. We learn that Johnny, though possessing a slew of aliases, has never had any real problems with the law; and the series of crimes that occur within the film have not yet happened. It's not clear if Inspector Koch is aware of Detective Blayden's side deals, but having Koch there does give us much of that background information that the director/screenwriter Rossen want to convey to the audience. Mr. Cobb is good in the part (though Ms. Keyes noted that he had a penchant for stealing scenes by chomping on his ever present cigar).

Several other actors deserve mention. Ellen Drew is fiendish as the straying wife who has her eye on Johnny; she reminds one of a wild cat - purring one minute and snarling the next. She's given excellent support by Thomas Gomez as her braggart husband - and Johnny's partner. His passion for his wife is evident - as is his jealousy for her obviously wandering eye.  

John Kellogg as Charlie, Johnny's friend and major domo is also worthy of a mention. Charlie seems on the up-and-up, and like Ms. Keyes, keeps his real motivations a secret until the end of the film.  Mr. Kellogg spent much of his movie career in small, often uncredited parts.  He moved easily into television in the 1950s, where he worked until 1990 (he'd started his film career in 1940, after doing some stage work) in shows such as Bonanza, Gunsmoke, and The Untouchables. He died of Alzheimer's Disease in 2000 at the age of 83.

Nina Foch has such a tiny part, but she is quite lovely as the sad-eyed Harriet. She'd made My Name is Julia Ross (a starring role) two years earlier, but that was a B movie, and Ms. Foch rarely got the opportunity to star in A movies. She makes the most of her small amount of screen time - you remember the character throughout the film, thanks to her excellent performance.

Bosley Crowther was unimpressed by the film in his New York Times review: "another of those smoldering exhibitions of gambling-joint jealousy and greed...", while a more recent review Richard Brody in The New Yorker called it "terse and taut film noir." Perhaps had director Rossen had a tad more experience, he would have been able to tighten the film a bit; the nearly two hour length leads to some redundancy that we found unnecessary. 

Lux Radio Theatre did an episode in May of 1947, with Dick Powell and Marguerite Chapman. In summary, we enjoyed the film, in spite of its faults; it's an opportunity to see some good actors, portraying very intriguing characters.  We'll leave you with a trailer:

Ida and Her Sisters

Ellen Creed (Ida Lupino) works as a companion to Leonora Fiske (Isobel Elsom), a retired actress with savings that will keep her living comfortably for the rest of her life. Ellen works to support her two sisters, Emily (Elsa Lanchester) and Louisa (Edith Barrett) in London. The sisters, however, are somewhat odd in their habits, and their landlady has demanded that Ellen remove them from her boarding house immediately. In desperation, Ellen asks Miss Fiske if the sisters can visit with her at Miss Fiske's house for a short time. But when the short time extends to six months, Miss Fiske has had it.  Our film this week is Ladies in Retirement (1941)


A melodrama very much in the vein of Night Must Fall (1937), the film's power is driven primarily by the performance of Ida Lupino. Playing a woman who should be much older her 23 years  (TCM article). Ms. Lupino gives the character grit, and emphasizes that this is a woman who feels overwhelmed by circumstances. Clearly, Ellen is the breadwinner for the family. She's tried leaving her sisters on their own. She's exhausted her last chance of supporting them from afar - their landlady has threatened to have them institutionalized. Ellen's desperation is evident as she tries to keep Louisa and Emily with her. But the two women, one a temperamental hoarder and the other a grown child, are not controllable, even with Ellen there. Keeping them at Miss Fiske's abode is her last chance to protect them, but their continued antics make this impossible. Ms. Lupino would later list it as one of her favorite film roles (TCM Notes).

Louis Hayward (Albert Feather) was married to Ms. Lupino at the time this film was made. He's good as the shady Albert; he makes the character even likeable at times, though one is always suspicious of his motives.  Mr, Hayward started his career on the London stage, a protege of Noel Coward. In 1935, he did a Broadway play; this led to his first film role, The Flame Within (1935). He was cast as the first Simon Templar in The Saint in New York (1938), but is probably best remembered for his performance in The Man in the Iron Mask (1939). When World War II broke out in the U.S., he joined the Marines, commanding a photographic unit and eventually producing the Oscar winning short With the Marines at Tarawa (1944). He returned from the war severely depressed, which caused the breakup of his marriage to Ms. Lupino (Ida Lupino: A Biography by William Donati). He would marry twice more, the third producing his only child. His career continued, in both film and television until 1974. In 1985, he died of lung cancer (he'd smoked four packs a day for 50 years), at the age of 75.

Emily  and Louisa are well acted by Ms. Lanchester and Ms. Barrett - they give the characters just the right amount of insanity, so that, for awhile, you are able to sympathize with them and with Ellen. Rosalind Russell had expressed interest in playing one of the parts. Also in consideration for the sisters were Lillian Gish, Judith Anderson, Pauline Lord, Laurette Taylor and Helen Chandler (AFI Catalog). 

Evelyn Keyes does a reasonably good job as Lucy, the housemaid (in fairness, it's not a great part). She spends most of her scenes with Mr. Hayward, and he steals all the audience's attention. As I said, he's quite the rogue. 
  Based on a 1940 Broadway play (which ran for 151 performances) the screenplay was written by Garrett Fort and Reginald Denham, based on Mr. Denham's script with Edward Percy. The play starred Flora Robson as Ellen, Estelle Winwood as Louisa, and Isobel Elsom who reprises her role of Miss Fiske in this movie.

It's not surprising that the film received two  received two Oscar nominations - for Black & White Art  Direction (Lionel Banks and George Montgomery) and for Score (Morris Stoloff and Ernst Toch). Though we know that the film was shot on a backlot, the film gives the feeling of the moodiness of the moors, and is reminiscent of atmospheric Wuthering Heights. The score also makes interesting use of the music from The Mikado; of course, it is a comedy, but it is the story of Ko-Ko, a man forced to become the Lord High Executioner of Titipu. The film got other awards:  Isobel Elsom received the Best Acting nod from the National Board of Review (NBR); Ida Lupino received a joint Best Acting Award from NBR - for this film and for High Sierra.

New York Times review was positive calling Ladies in Retirement "painstakingly done, beautifully photographed and tautly played."  The story been redone several times. In September 1943, Lux Radio Theatre presented Brian Aherne and Louise Barrett.  Robert Montgomery Presents (1951) had Lillian Gish and Una O'Connor in a television broadcast. 1954 saw a version with Edith Barrett, Elsa Lanchester & Claire Trevor as part of the Lux Video Theatre. The film was remade as The Mad Room (1969) with Shelley Winters and Stella Stevens. 

While our group had some mixed feelings about the film (one member said she found it sometimes frustrating), the consensus was that it's certainly a film worth watching.  If you like melodramas, this one is for you.

Robert Avoids Heaven

Joe Pendleton (Robert Montgomery) is a boxer with dreams of becoming the champion. He's trained long and hard, and is ready for the bout that will propel him to stardom. He's in his private plane, heading for New York when his aircraft is damaged. Plummeting earthbound, his spirit is plucked from his body by overeager heavenly messenger 7013 (Edward Everett Horton).  When Joe protests to Mr. Jordan (Claude Rains) that he doesn't feel dead, Mr. Jordan discovers that Joe is destined to live another 50 years! Since Joe's body is gone (cremated by Joe's manager Max Corkle (James Gleason)), Mr. Jordan and Joe go out to find Joe a new body. Here Comes Mr. Jordan (1941) tells the story of that quest.

I'm truly of the opinion that Robert Montgomery is one of our most underrated film actors. He's good in everything he does, and can play the villain, the anti-hero, and the hero with equal aplomb. He's delightful as Joe Pendleton, a man of deep feelings and simple tastes. He loves his plane, his saxophone, his dear friend Max, and ultimately, Bette Logan (Evelyn Keyes). His quest for a new body is governed by the purity of his nature - he wants simply what he is entitled to, and wants the body he is given to match the one that he had. After all, he kept it "in the pink!"

Robert Montgomery was born into a privileged family, but that all ended with his father's suicide when Robert was 18. He decided to try his hand at acting and writing; by 1924, he was appearing on Broadway, where he was in 7 plays (through 1928). He signed a contract with MGM in 1929, where his stage training was essential in the booming sound era; he was often the juvenile in this period (as in Untamed (1929)).  In 1937, he showed a new side of his talent in Night Must Fall,  as an insane killer. World War II disrupted his career - he volunteered to serve in the Navy, rising to the rank of Lieutenant Commander. Upon his return, John Ford cast him in They Were Expendable (1945); when Ford was injured, Mr. Montgomery finished directing the film. His characterizations became even more nuanced, as he appeared in films like the film noir Lady in the Lake (1946). He turned to television, to produce his own anthology show, Robert Montgomery Presents.  Married twice, he had three children by his first wife, Elizabeth Allen. His daughter, Elizabeth, went on to perform in film and television (and is best remembered for her role in the TV series,  Bewitched). He died of cancer in 1981.

We were a bit less enthralled with Evelyn Keyes. There are times, especially at the beginning when she is pleading for her father, that she seems over-melodramatic. She improves greatly in the love scenes with Mr. Montgomery, and they have a warm relationship that is easy to appreciate. Rita Johnson, as the other woman in Joe's life - the almost widow Julia Farnsworth - is quite good as the would-be murderer. She's properly bitchy, and you eagerly await her - and her paramour Tony Abbott (John Emery) - getting their comeuppance.

The film's strength really comes from two magnificent supporting roles - Mr. Jordan and Max Corkle. James Gleason is excellent as the frequently bemused Max. His fatherly affection for Joe is apparent from the minute we first meet him, and his pain from the repeated loss of Joe is palpable. But Mr. Gleason also brings humor to the part - his inability to see Mr. Jordan, while he tries to have conversations with him make for amusing scenes, yet maintain the integrity of the character. In their review, the New York Times says that Mr. Gleason "steals the film's most comic scene as the manager with cosmic premonitions," but he never lets Max become a fool, and we are grateful for it.

What can we add about Claude Rains that hasn't already been said? He's delightful as Mr. Jordan - warm and understanding. He cares about Joe, and about his predicament, but he has a heavenly duty to perform, and Joe isn't always willing to acknowledge that. Mr. Rains brings a sincerity to the role that perfects the movie. We believe he is an angel, and we know that Mr. Jordan will keep an eye on his charge until he meets him again in 1991. This article from the Criterion Collection talks about "the hint of steel" Mr. Rains brings to the part. It is the making of the character.

The story upon which the film was based was initially purchased as a vehicle for Cary Grant (AFI Catalog)  Years later, Warren Beatty would ask him to play Mr. Jordan in his remake.  (Evenings with Cary Grant by Nancy Nelson). When Mr. Grant said no, Mr. Beatty cast James Mason in his 1978  Heaven Can Wait - which was, in fact, the title of the original play by Harry Segall (TCM article). 

Lux Radio Theatre in January 1942 aired a version of the story with Cary Grant, Evelyn Keyes, Claude Rains, and James Gleason. It was remade again as Down to Earth (2001) with Chris Rock as a comedian who is untimely snatched from his body.

We'll leave you with this trailer, and the suggestion that you give this delightful film a first (or a second) viewing:

Evelyn Investigates

Dangerous Blondes (1943) is a wartime film that pretty much ignores the war.  Set in New York City, it stars Evelyn Keyes as Jane Craig and Allyn Joslyn as her husband, Barry, a mystery novel author.  Barry is a bit of a show-off, and has recently bested the police team on a radio quiz show, making him not the most popular of men.  So, when Jane's friend, Julie Taylor (Anita Louise) inadvertently gets Jane involved in a murder investigation, the interference of Barry does not win him any more friends with the local constabulary. 

The script has a lot of plot; with an 81 minute running time, the film goes by very fast.  We found ourselves rerunning certain segments (the joys of DVR) to clarify plot points.  Regardless, it's a fun film and not in the least boring.  It's based on a story by Kelley Roos called If the Shroud Fits.  Roos also wrote A Night to Remember (1942); we previously discussed the film version of that book.  In Dangerous Blondes, Keyes and Joslyn are playing the same characters that Young and Aherne portrayed in  A Night to Remember; again, the character's names from the book (Jeff and Haila Troy) have been changed.   The following year, Keyes and Allyn would again play married amateur detectives in Strange Affair, though NOT the Troys (or the Craigs).

What makes the movie especially enjoyable is the relationship of Jane and Barry.  Surely, this was an attempt to make another Thin Man type of film, and while Evelyn Keyes and Allyn Joslyn are no Myrna Loy and William Powell, they are very good (they are FAR more interesting characters than those in A Night to Remember).  Jane Craig is a smart woman who loves her husband, and Barry is obviously deeply in love with her.  Evelyn Keyes makes Jane attractive and not silly; her involvement in the murder investigation is mere coincidence.  She is not the ambulance-chasing wife who MUST get in on her husband's action.  And Allyn Joslyn is able to keep Barry personable even when he is being a bit of a twit.  He too is accidentally involved, though Barry relishes the attention far more than Jane.

We have the usual married-couple banter, but it is affectionate and never over-the-top.  We discover that Jane isn't really the best of cooks (though she is dealing with the difficulties in getting food - our only reference to World War II is Jane's brief comment on the amount of food one can buy with one's points).  And we see Barry helping out around the house, which we all found to be a breath of fresh air.  Imagine, a man doing housework and not being laughed at! 

We found the costuming to be attractive;  we were especially impressed, though, with the set design.  Jane and Barry's apartment is so totally appropriate for their finances.  It is the kind of apartment one would expect young marrieds to inhabit in 1943.  It's not fancy, but it is clean and nicely furnished.  It compliments the marriage that we are being shown. 

The always funny William Demarest plays a cop - Detective Gatling.  It's established from almost the first scene that he is not very smart (he doesn't know who invented the first machine gun).  Demarest, however, serves as a good antagonist for Allyn Joslyn. He doesn't get a lot to do, but it is always a pleasure to see him.

Before we go, a quick nod to Minerva Urecal, who plays Jane and Barry's landlady in several scenes.  You probably don't know the name, but you will know the face when you see her.  With 276 film credits in film and TV (according to IMDB), she was always tiny parts, and often uncredited. She provides the first hint of trouble, and then she is pretty much gone.  Ms. Urecal worked until her death of a heart attack at the age of 71 in 1966.

Next week, we'll return with another World War II vintage film.