Grand Central Murder (1942)

US / 74 minutes / bw / MGM Dir: S. Sylvan Simon Pr: B.F. Zeidman Scr: Peter Ruric Story: Grand Central Murder (1939) by Sue MacVeigh Cine: George Folsey Cast: Van Heflin, Patricia Dane, Cecilia Parker, Virginia Grey, Samuel S. Hinds, Sam Levene, Connie Gilchrist, Mark Daniels, Horace McNally (i.e., Stephen McNally), Tom Conway, Betty Wells, George Lynn, Roman Bohnen, Millard Mitchell, Tom Dugan

Mida King (Dane), showgirl star of a string of Broadway hits, is a relentless gold digger: she lures men, milks them dry, then dumps them. One of the luckless men, Turk (McNally), refused to be dumped, and so Mida framed him for murder and watched him get sent up the river.

Patricia Dane as Mida King

But now, en route to New York for a reopening of his trial, Turk escapes the train on which he was being transported and, from the gloomy depths of Grand Central Station, phones Mida’s dressing room at the Harmony Theater on Broadway and informs her sweetly that he’s on his way to kill her.

Virginia Grey as Sue Custer and Van Heflin as Rocky Custer

Not unnaturally sent into a panic, Mida runs out on the second act of her current show and heads for Grand Central and the private railcar owned by her current fiancé, rich smoothie David V. Henderson (Daniels). Not so very long later, David and the longtime fiancée he dumped in Mida’s favor, Constance Furness (Parker), discover Mida’s corpse naked in the bathroom of the railcar.

But the railcar was locked from within.

And even the medical examiner can’t initially establish how Mida was killed.

 

Inspector Gunther (Levene) is soon on the job, and Continue reading

Repeat Performance (1947)

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Can we change the past by reliving it?
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US / 92 minutes / bw / Bryan Foy Productions, Eagle–Lion Dir: Alfred Werker Pr: Aubrey Schenck Scr: Walter Bullock Story: Repeat Performance (1942) by William O’Farrell Cine: Lew W. O’Connell Cast: Louis Hayward, Joan Leslie, Virginia Field, Tom Conway, Richard Basehart, Natalie Schafer, Benay Venuta, Ilka Gruning.

Every now and then one comes across a movie that ought to have the status of at the very least a minor classic yet has somehow been largely forgotten. Repeat Performance is such a movie. It tells a highly intriguing, emotionally involving story and, in so doing, hardly puts a foot wrong.

It’s a few minutes before the start of 1947 and the streets of New York are full of merry celebrants. In her luxury apartment nearby, however, famous Broadway actress Sheila Page (Leslie) stands over the corpse of husband Barney (Hayward); in her hand is the gun with which she’s just shot him. What could have brought her to this pass?

There’s a thunder of fists on the apartment door and a chorus of shouts from beyond it. Casting the gun aside, Sheila flees—out into the streets and to a club where her friend, the poet William Williams (Basehart, whose first screen role this was) is drinking with actress Bess Michaels (Venuta) and English playwright Paula Costello (Field). Sheila tells the sympathetic William what she’s done, and he suggests they go ask the advice of Broadway producer John Friday (Conway), a kind and generous man who’s an angel in more senses than one . . . especially to Sheila, whom he clearly adores from, figuratively speaking at least, afar.

Paula (Virginia Field) tries to pretend she and Sheila are all pals together.

However, as Sheila and William approach the door of Friday’s apartment, she wishes aloud that 1946 had never happened at all, that she could relive it avoiding all the pitfalls that made it such a rotten year for her—and, in fact, for William. She turns on the stairs to discover that William is no longer with her.

And, speaking moments later with a bewildered Friday, she slowly begins to cotton on to the fact that the new year that’s just beginning isn’t 1947 after all: it’s 1946. Just as she wished for, she’s been given the chance to relive the year.

John Friday (Tom Conway) is bewildered by Sheila’s claims that it’s 1947.

What errors will she avoid making? For one, she’ll Continue reading