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Tag Archives: Bertram Millhauser

The Web (May 25, 1947)

The Web
The Web (1947)
Directed by Michael Gordon
Universal Pictures

The Web is a classic case of mediocre material made incredibly entertaining by an excellent cast and a good director. The film’s plot may be run-of-the-mill, but the film itself is never boring.

The exciting opening takes the viewer along the busy Manhattan streets and overpasses that lead to Grand Central Station and culminates in a tearful reunion between an old man, Leopold Kroner (Fritz Leiber), and his daughter Martha (Maria Palmer). Kroner has just been released from prison, and he is surprised that “Mr. Colby” didn’t come to meet him at the train station. The viewer immediately knows that something sinister is going on, because we see a mug trailing Kroner and his daughter through the train station.

Next, we meet brash young attorney Robert Regan (Edmond O’Brien), who’s trying to force his way into Andrew Colby Enterprises to see the man in charge. When he pushes through several sets of doors and finally meets Noel Faraday (Ella Raines), he demands to see Mr. Colby. When she’s asks what his business with Mr. Colby is, he says, “Well, he’s been carrying on with my grandmother, and I’d like to find out what his intentions are.” When Noel tells him that she’s Mr. Colby’s personal secretary, he responds, “Well that just goes to show you how far a girl can get if she keeps her stocking seams straight.”

Their dialogue continues in this vein for the rest of the picture. Regan is the kind of person who would be known today in some circles as a “jerk,” and if he said half the things he says in The Web during working hours he’d be sued for sexual harassment.

But he’s also a tireless crusader for his clients, which becomes clear when he finally comes face to face with Andrew Colby, who’s played with smooth, villainous charm by the one and only Vincent Price. Regan is there to serve him with a summons on behalf of his client, Emilio Canepa (Tito Vuolo). As a result of Colby’s negligent driving, Canepa’s pushcart and load of bananas were damaged to the tune of $68.72.

Raines and O'Brien

Colby sees in Regan’s bullheaded doggedness an opportunity, and offers Regan a $5,000 retainer to come and work for him. Colby tells Regan that five years ago, his business associate Leopold Kroner took nearly $1 million worth of bonds belonging to Colby’s firm, made duplicates, and sold the counterfeit bonds. He was caught and sent to prison, but now that Kroner has been released, Colby claims he’s been threatening him. Colby has a big deal coming up, and he doesn’t want it known that his life is being threatened. If he hired a bodyguard, it would become public knowledge.

If he just hired another lawyer, however, no one would think twice. All Colby asks of Regan is that he work for him for two weeks as a bodyguard and tell no one what he’s doing.

If you know what the word “patsy” means, you’ll probably have no difficulty figuring out what Colby really wants Regan for.

Rounding out the excellent main cast is William Bendix as Lt. Damico, Regan’s friend on the force. Bendix was equally adept at playing tough guys and clowns, and he gets to flex both his dramatic and comic acting muscles as the long-suffering Damico, who’s a lot wiser than Regan gives him credit for.

Even though he’s the protagonist, O’Brien is probably the weakest link in the film. Regan isn’t a very interesting character, and he’s mostly only good for one-liners, but at least they’re decent one-liners. O’Brien’s innuendo-laced banter with Raines isn’t quite Tracy-Hepburn or Bogie-Bacall, but it’s clever and fast-paced enough to satisfy discriminating noir fans, and Raines’s dark beauty and way with a retort elevate their exchanges.

The screenplay by William Bowers and Bertram Millhauser (based on a story by Harry Kurnitz) really crackles in the dialogue department, which makes up for the pedestrian plot. Director Michael Gordon keeps things moving along nicely, and delivers a satisfying final product. The Web might not be a classic film noir, but it’s thoroughly entertaining.

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The Woman in Green (July 27, 1945)

WomanGreenRoy William Neill’s The Woman in Green is the eleventh film Basil Rathbone and Nigel Bruce made together in which they played Sherlock Holmes and Dr. Watson, respectively. It’s perhaps not the best in the series, but it presents an excellent mystery, and offers everything fans of the previous Sherlock Holmes films will look for. There are gruesome yet puzzling clues, a pretty young woman who comes to Holmes for help, a bewitching femme fatale, a clever blackmailing scheme that involves hypnosis, and Professor Moriarty behind it all.

This was only the third time that Moriarty, Holmes’s archenemy and “the Napoleon of crime,” showed up in the series. The first time was in The Adventures of Sherlock Holmes (1939), when he was played by George Zucco. The second time was in Sherlock Holmes and the Secret Weapon (1943), when he was played by Lionel Atwill. Somewhat confusingly, all three men also appeared in different roles in Universal Pictures’ Sherlock Holmes series. Zucco and Daniell even appeared together as cooperating villains in Sherlock Holmes in Washington (1943). If I had my druthers, Zucco would have played Moriarty in all three films, since he’s my personal favorite, but we can’t always get what we want. And apparently Rathbone named Daniell as his favorite Moriarty, so clearly it’s just a matter of taste. Daniell was certainly one of the more dependable Hollywood villains of the ’40s. He was smooth and sophisticated with just the right touch of menace.

When The Woman in Green begins, Moriarty is presumed dead, since he is believed to have been hanged in Montevideo. Meanwhile, Holmes has his hands full in London with a series of mysterious murders. Young women are being killed, and in each case one finger is missing from the corpse. Aside from that one detail, however, there is no connection between any of the murders, and Scotland Yard can’t make heads or tails of the case. When a young woman named Maude Fenwick (Eve Amber) comes to Holmes for help, however, things start falling into place. She’s worried about her father, Sir George Fenwick (Paul Cavanagh), who has been acting very strangely ever since he took up with an alluring and mysterious woman named Lydia (Hillary Brooke). When Maude catches her father trying to bury a finger in his garden, she realizes it’s time to enlist the help of the great detective.

The way the mystery unfolds is satisfying, if somewhat fanciful. One has to suspend some disbelief in order to go along for the ride, but what else is new?