The Dummy Talks (1943)

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Who slew the philandering ventriloquist?
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UK / 82 minutes / bw / British National, Anglo–American Dir: Oswald Mitchell Pr: Wallace Orton Scr: Michael Barringer Story: Con West, Jack Clifford Cine: James Wilson Cast: Jack Warner, Claude Hulbert, G.H. Mulcaster, Beryl Orde, Ivy Benson, John Carol, Evelyn Darvell, Max Earl, Gordon Edwards, Manning Whiley, Charles Carson, Derna Hazell (i.e., Hy Hazell), Eric Mudd, PLUS

  • Ivy Benson’s All-Ladies Orchestra
  • Frederick Sylvester & Nephew
  • Tommy Manley & Florence Austin
  • Cecil Ayres with the Skating Avalons
  • The Five Lai Founs

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A wartime morale-booster set inside a London variety house/music hall (about the same as a US burlesque theater, but without the, er, disrobing) and relying heavily on the BBC radio popularity of three of its major cast: Jack Warner, Claude Hulbert and Beryl Orde. The movie presents itself as a murder mystery with the added elements of some flippant humor and quite a lot of stage presentations. Despite some genuinely clever moments, it seems today—although fans of music hall might disagree—a tad leaden in places.

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Joe (uncredited) knows a thing or two.

Comedian Jack “Blue Pencil” Warner (Warner) and impressionist Beryl Orde (Orde) are the current headliners at the variety theater, drawing the crowds because they’re well known radio personalities, but plenty of other high-profile acts are on the bill: Marvello (Carson) and Maya (Hazell) with their mentalist act; ventriloquist Russell Warren (Whiley); and singer Peggy Royce (Darvell), who performs with the big band Ivy Benson’s All-Ladies Orchestra (one of several genuine variety acts to feature). Behind the scenes we have stage manager Marcus (Edwards); the theater’s managing director, Yates (Earl); Joe (bafflingly uncredited), the stage-door keeper; and a stutteringly unorthodox cop, Victor “Vic” Harbord (Hulbert), who hangs around the theater a lot because he and Peggy are—improbably—enamored.

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Vic (Claude Hulbert) and Beryl (Beryl Orde).

Beryl knows the ventriloquist, Warren, of old, and despises him as a heartless womanizer. She also recalls how one time, when they shared a bill up north, Warren beat to a pulp a husband who objected to Warren’s seduction of the luckless man’s wife. Beryl is thus dismayed to notice that Peggy is seeing rather more than is appropriate of the ventriloquist; Vic may be no Adonis, but he has a good heart and a genuine adoration for the singer. The truth is that Warren has learned that Continue reading

Too Late for Tears (1949)

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Lizabeth Scott triumphs in an underrated noir classic!
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vt Killer Bait
US / 100 minutes / bw / Hunt Stromberg, UA Dir: Byron Haskin Pr: Hunt Stromberg Scr: Roy Huggins Story: Too Late for Tears (1947, originally serialized in Saturday Evening Post) by Roy Huggins Cine: William Mellor Cast: Lizabeth Scott, Don DeFore, Dan Duryea, Arthur Kennedy, Kristine Miller, Barry Kelley, Smoki Whitfield, David Clarke, Billy Halop.

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If there was any single movie or actor that set me off on the long and winding course toward writing A Comprehensive Encyclopedia of Film Noir, Too Late for Tears was that movie and Lizabeth Scott was that actor.

I first watched the movie sometime in the early 2000s. Before that I’d written quite extensively on animation—in fact, I’d not so very long before seen publication of my book Masters of Animation—and on fantasy movies, for The Encyclopedia of Fantasy, edited by John Clute and myself. I’d been playing around with various ideas for more books on animation and/or the cinema of the fantastic, but then, for some reason—perhaps just because it came on TCM while I was sitting on the couch, who knows?—I found myself watching Too Late for Tears for the first time.

And it felt like coming home.

Of course, I’d watched countless films noirs before then, and liked them a lot—The BLUE DAHLIA (1946) was a particular favorite (have I ever mentioned my longtime crush on Veronica Lake?)—but Continue reading