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Tag Archives: Larry Darmour Productions

The Thirteenth Hour (Feb. 6, 1947)

The Thirteenth Hour
The Thirteenth Hour (1947)
Directed by William Clemens
Columbia Pictures

Let us bid adieu to Richard Dix.

His role in William Clemens’s The Thirteenth Hour was his last. Dix’s health was in decline when he was starring in the series of B movies based on the radio show The Whistler. After appearing in The Thirteenth Hour, the seventh in the series, Dix retired from acting. He died a couple of years later, at the age of 56, on September 20, 1949, following a heart attack he’d suffered a week earlier. (There would be one last Whistler movie, The Return of the Whistler, in 1948, starring Michael Duane.)

When asked about his role in The Thirteenth Hour, Dix said, “The part is more dramatic than the ones I used to do at Goldwyn’s and Paramount. Then, I played devil-may-care, brassy boys who were strong on wisecracks, and back in some of those early films I made the jokes via printed titles.”

His mention of printed titles is a reference to his early days in Hollywood, when the movies were still silent. Dix had a 30 year-long career, and was one of the first “he-men” of the silver screen; a rugged, square-jawed presence who loomed larger than life. His Whistler films aren’t the best of his career, but they’re nothing to be ashamed of, either. Unlike most of the formulaic, single-character mystery series of the ’40s (e.g., Boston Blackie, the Falcon, the Crime Doctor, Charlie Chan), Dix played a different role in each Whistler film, from the nastiest bad guys to the most well-intentioned good guys.

In The Thirteenth Hour, he plays a regular Joe named Steve Reynolds, a truck driver who operates his own trucking firm. He’s engaged to a roadhouse waitress named Eileen (Karen Morley), who has a young son named Tommy (Mark Dennis).

After a hot-rodding drunk runs Steve off the road one night and straight into an old man’s gas station, his license is revoked for six months. The accident wasn’t Steve’s fault, but a disappearing witness and a motorcycle cop named Don Parker (Regis Toomey), who has a vendetta against Steve, conspire against him.

To make matters worse, Steve has a competitor, Jerry Mason (Jim Bannon), an underworld character who’s undercutting Steve and is determined to run him out of business.

Finally, the night comes when Steve’s mechanic and driver Charlie (John Kellogg) is too sick to work, and Steve has no choice but to deliver a shipment himself. His license hasn’t been reinstated yet, so the decision could have terrible consequences. He starts out in the wee hours of the morning and sticks to back roads, but of course, something goes wrong. When he stops to service his truck, he’s knocked out by a masked man. The mysterious figure not only absconds with Steve’s truck, but he uses it to run over and kill a cop.

Steve goes on the lam and attempts to prove his innocence with the help of Charlie, Eileen, and Tommy. (There’s one weird, funny moment when the cops bust in on Eileen and Tommy right after Steve has slipped out the back. Tommy sits in a living room chair, looking innocent, reading a book. The detective peers at him suspiciously, and the camera zooms in on the book’s title — Studies in Necrophobia.)

If you’ve awake for most of the movie, you’ll have no trouble figuring out exactly who the killer is before Steve finds out. Even so, The Thirteenth Hour is a well-made, brisk mystery that packs plenty of excitement into its barely one-hour running time. The presence of the Whistler (an uncredited Otto Forrest) is less obtrusive than in some of the series’ entries, but he still sets the stage nicely, just as he did on his weekly radio show, which told the stories of “men and women who have stepped into the shadows.”

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Secret of the Whistler (Nov. 7, 1946)

Secret of the Whistler
Secret of the Whistler (1946)
Directed by George Sherman
Columbia Pictures

George Sherman’s Secret of the Whistler is a solid but unremarkable entry in Columbia Pictures’ series of bottom-of-the-bill programmers based on the radio show The Whistler. Each film in the series starred Richard Dix, a he-man of the silent era whose star was fading. Dix delivered sweaty, paranoid performances in a variety of roles in The Whistler series; businessman, drifter, private investigator, homicidal maniac. His health may have been failing, but he was still a solid performer.

In Secret of the Whistler he plays a painter named Ralph Harrison who is living the high life on his wealthy wife’s dime. He throws lavish parties in his studio/bachelor pad for people who aren’t really his friends, but who don’t mind eating his food and drinking his booze. Among the many attractive young women who pose for Harrison for big money is Kay Morrell (Leslie Brooks), a beautiful blonde with gams that won’t quit.

Meanwhile, Harrison’s wife, Edith Marie Harrison (Mary Currier), lies in bed at home, at death’s door. When the film begins, Harrison seems to genuinely care for his ailing wife, and she adores him. Slowly but surely, however, Harrison begins to fall for Kay. (And after the scene in which she poses for him wearing a small one-piece undergarment, I thought to myself, “Who wouldn’t?”) He buys her expensive presents and lavishes her with attention. His wife isn’t long for this world, so what’s the harm?

The only problem is that Mrs. Harrison comes under the care of a specialist, and makes a miraculous recovery. (Her cardiologist’s course of therapy seems to mostly involve getting out of bed and taking long walks, which is still good advice today.) When she drops by her husband’s studio unannounced, however, her excitement turns to horror when she overhears her husband pitching woo to Kay. She suffers a major setback and promises to write Ralph out of her will.

Fans of The Whistler radio show will have no trouble predicting what will happen next, or the panoply of complications that will arise. True to the radio show, the Whistler himself shows up several times in the film, always as a dark silhouette or a shadow thrown on a wall, speaking directly to Harrison and revealing his murderous thoughts.

The screenplay for Secret of the Whistler by Richard H. Landau and Raymond L. Schrock is the most thematically similar to the radio show of all the films in the series I’ve seen so far. If murdering your wife was your thing, The Whistler was the best show on the air. Nearly every week it seemed as if someone’s spouse was being bumped off for an inheritance and a chance at life with a younger boyfriend or girlfriend, although things never went according to plan.

With a little more than double the running time of a typical episode of the radio show, Secret of the Whistler has more time to develop its characters and its story. On the radio, there just wouldn’t be enough time to show Ralph’s tepid devotion slowly changing to disinterest. At the same time, though, the film feels a little longer than its 65-minute running time, and while its twist ending is good, it doesn’t have the devious ingenuity of the best twists of the radio show.

Still, this is a really good mystery series, with heavy doses of noir atmosphere and performances by Dix that are always interesting to watch. Secret of the Whistler is a lesser entry in the series, but it’s still a pretty good one.

Crime Doctor’s Man Hunt (Oct. 24, 1946)

Crime Doctor's Man Hunt
Crime Doctor’s Man Hunt (1946)
Directed by William Castle
Columbia Pictures

William Castle’s mystery programmer Crime Doctor’s Man Hunt is yet another wacky outing with Warner Baxter as Robert Ordway, M.D., Ph.D. (a.k.a. the Crime Doctor).

The Crime Doctor was a character created by Max Marcin for a Sunday-night mystery radio show that ran from 1940 to 1947 on CBS stations. Like a lot of radio detectives (e.g., Boston Blackie, the Falcon), the Crime Doctor also got his own series of hour-long B movies.

In the first film in the series, Michael Gordon’s Crime Doctor (1943), a Depression-era crook and racketeer named Phil Morgan survives a murder attempt, but suffers from complete amnesia, reinvents himself as “Robert Ordway,” and puts himself through medical school. Once he gets his degree, he focuses on rehabilitating criminals. His past eventually catches up with him, but everything works out all right, and he is able to continue being Dr. Ordway, putting crooks behind bars and helping the helpless.

Crime Doctor is one of the best films in the series. The subsequent films are all a lot of fun, but Dr. Ordway’s checkered past is rarely referred to. Baxter’s performance in the lead role is always top-notch, however, and most of the Crime Doctor pictures are a cut above most other mystery programmers from the ’40s.

In Crime Doctor’s Man Hunt, John Foster (Myron Healey), a young, pencil-mustachioed man suffering from “bomb shock and combat fatigue,” comes to see Dr. Ordway. He’s suffering from fugue states in which he wanders in a daze, always drawn to the same intersection, but he doesn’t know why, and never remembers how he got there. He could get treatment from the Army, but he doesn’t want his fiancée to know about his condition.

His fiancée, Irene Cotter (Ellen Drew), comes to see Dr. Ordway right afterward. (Foster’s attempts to conceal his condition from her were clearly in vain.) Dr. Ordway deflects her questions and tells her that he can’t violate any patient’s confidentiality.

As with most of the Crime Doctor films, things get loonier as the film goes on. We learn that Foster had his fortune cast during a “slumming party” downtown, and was told by a fortuneteller named “Alfredi” (real name “Alfred Hemstead,” played by Ivan Triesault) that he would meet his violent death on the corner of Garth and Davis streets, which is why he is continually drawn there.

There’s also a case of split personality, which I won’t say too much about in order not to give anything away. However, even the dimmer bulbs in the audience will see the “twist” ending coming from a mile away. I’m not even sure it was meant to be a surprise.

Ordway comments at the end of the film that this has been a strange case, first the fugue, then the split personality. “Doctor, I’d like you to come see my wife,” says Police Inspector Harry B. Manning (William Frawley). “Split personality?” asks the doctor. “No personality,” quips the inspector.

Just Before Dawn (March 7, 1946)

Just Before DawnJust Before Dawn (1946)
Directed by William Castle
Columbia Pictures

Criminal psychiatrist Dr. Robert Ordway, a.k.a. the “Crime Doctor,” is a fictional character created in 1940 by Max Marcin. Crime Doctor was a Sunday-night program that ran on CBS radio stations for seven years. There are only a few extant recordings of the shows, but the ones I’ve heard are comfortable and formulaic little mysteries, not unlike the long-running Mr. Keen, Tracer of Lost Persons.

Like a number of other popular mystery programs, Crime Doctor was adapted as a series of films. Dr. Ordway was played by four different actors over the course of the radio show, but on-screen, he was always played by Warner Baxter. Baxter had been a matinee idol in the silent era, and had won an Oscar for his role as the Cisco Kid in the early talkie In Old Arizona (1928). By the ’40s, however, he was in poor health, and the Crime Doctor series was an easy paycheck for not too much work. Each picture took less than a month to film, and he made roughly two Crime Doctor pictures a year. Baxter doesn’t seem to be coasting in them, though. While he doesn’t ever run or do any stuntwork, he is a fine actor, and his patrician presence is always a treat.

In the first film, Michael Gordon’s Crime Doctor (1943), we learn the character’s origin. A Depression-era crook and racketeer named Phil Morgan is shot and left for dead on the side of the road. Suffering from total amnesia, Morgan calls himself “Robert Ordway” and puts himself through medical school. Once he gets his degree, he focuses on rehabilitating criminals. Eventually, his past catches up with him, but everything works out in the end, allowing him to keep his new name and continue his work as one of the good guys in a series of films released by Columbia Pictures. Crime Doctor was followed by Eugene Forde’s Crime Doctor’s Strangest Case (1943) and Shadows in the Night (1944), George Sherman’s The Crime Doctor’s Courage (1945), and William Castle’s Crime Doctor’s Warning (1945). The film series is less cozy than the radio episodes I’ve heard, and delves into noir territory, with all of its shadows, brutal murders, and mysterious characters.

The sixth film in the series, Just Before Dawn, which was also directed by Castle, begins at night, with a shot of a hulking man (Marvin Miller) walking up to the shadowed entrance of the Ganss Mortuary. He is met by Karl Ganss (Martin Kosleck), who gives him a small leather case that contains a hypodermic needle and a vial of something marked “insulin” that’s not really insulin.

In the next scene, we see Dr. Ordway relaxing at home by the fire with a book when Mrs. Travers (Mona Barrie), his new neighbor, knocks on his door. One of the guests at her party has taken ill, and she can’t get in touch with their regular doctor. This was the good old days, when there was no such thing as dialing 911, but any doctor, even one you’d never met before, would drop everything and walk across the street to your house to take a look at someone who had collapsed on your couch. Dr. Ordway isn’t just any doctor, though, and his reputation precedes him. When he is announced as “Dr. Ordway,” the Travers’s butler Armand (Ted Hecht) excitedly blurts out, “the Crime Doctor!”

The collapsed gentleman in the living room is a diabetic (remember that insulin?) named Walter Foster (George Meeker). Dr. Ordway attends to him, and speaks with Foster’s attractive young sister, Claire (Adelle Roberts), who tells Dr. Ordway that her brother must have forgotten to take his insulin. Dr. Ordway unwittingly prepares a hot dose for Foster, and assures Claire and Mrs. Travers that he’ll be fine. While Dr. Ordway is meeting some of the other party guests, Foster drops dead. He has been poisoned, and the murderer has made Dr. Ordway the instrument of his crime.

The police, generally a bumbling lot in these old mystery series, encourage Dr. Ordway to investigate the crime to redeem himself, especially since he lives right across the street from the Travers home, and it will be easy for him to keep tabs on everyone. I don’t know what city the Crime Doctor series takes place in, but its police force must be one of the laziest in the country.

Dr. Ordway investigates the crime in a by-the-numbers fashion. It turns out that a lot of people at the party (and possibly someone who was not at the party) had reason to want Foster dead. There are obviously nefarious things going on at the Ganss Mortuary, but how they relate to Foster’s murder is not immediately clear.

After the halfway mark, the film really kicks into high gear. After an attempt on his life, Dr. Ordway feigns blindness to lull his antagonists into a false sense of security. He also undergoes a fancy make-up job that turns him into a dead ringer for a vicious killer on the lam named Pete Hastings. Things get really nutty by the end, when Dr. Ordway makes himself temporarily immune to poison by lining his stomach with a heavy emulsion of chalk in order to catch the killer. Just Before Dawn is the only movie I can think of that ends with a shot of the protagonist lying down on an operating table to get his stomach pumped.

I’m a big fan of the director. Castle gained notoriety as a purveyor of high-quality schlock with his “gimmick” films of the late ’50s and early ’60s. Anyone who bought a ticket for Macabre (1958) was automatically insured by Lloyd’s of London, and received a settlement if they died of fright during the picture; House on Haunted Hill (1959) featured a gimmick called “Emergo,” in which a plastic skeleton shot out of a box next to the screen as Vincent Price manipulated his own skeleton on-screen; the gimmick for The Tingler (1959) was called “Percepto,” and involved theater patrons getting their spines buzzed by a wire hidden in their seats; and Homicidal (1961) featured a one-minute “Fright Break” at the climax that allowed anyone who was too scared to keep watching to leave and receive a full refund. Of course, they were lighted with a spotlight as they walked up the aisle and then had to stand in the cardboard “Coward’s Corner” in the lobby until the film ended and their fellow patrons strolled past, so not too many people took advantage of the offer.

Before he carved his unique place in cinematic history, Castle directed dozens of programmers like this one. Prior to making Just Before Dawn, he directed three entries in Columbia Pictures’s Whistler series, The Whistler (1943), The Mark of the Whistler (1944), and Voice of the Whistler (1945). In general, I prefer the Whistler series. The plots are more varied and interesting. I also liked Castle’s prior entry in this series, Crime Doctor’s Warning, a little more than this one. Its depiction of the Greenwich Village art scene and the crazy beatniks who inhabited it was really enjoyable. But Just Before Dawn is, like all of Castle’s movies, still a whole lot of fun for fans of B mysteries and bottom-of-the-bill programmers.