Independent Exhibitors Film Bulletin (1946)

'BLACK ANGEL" EXPLOITABLE MURDER-MYSTERY Rales • • -U generally; more where hea Universal 80 minutes Dan Duryea, June Vincent, Peter Loire, Broderick Crowford, Wallace Ford, Constance Dowli ng, Hobart Cavanaugh, Freddie Steele, Marian Martin, Ben Bard, Directed by Roy William Neill. "Black Angel" is an interest-holding murder mystery that merits the showman's strongest exploitation efforts. Although lacking top-ranking marqull names, it should make a good bill-topper gererally, but it's adult fare and too sordid for the kiddies. Adapted from Cornel Woolrich's novel, this is the first attempt to star Dan Duryea (who atracted attention in "Scarlet Street" and "Woman in the Window"), but he is less effective in a semi-sympathetic role than in his more familiar surly tough-guy parts. The murder of a blackmailing beauty in the first Ave minutes starts the picture off at a fast pace and, although the plot vily exploited ramifications become somewhat involved, Roy William Neill's taut direction keeps audiences guessing throughout and a surprise twist leads to a novel and unexpected ending. A scene which shows Duryea in a drunken stupor during which the events of the murder evening are made clear to him is both unusual and outstanding. Several night club tunes, sung pleasantly enough by June Vincent, do little other than retard the action. Soon after Dan Duryea, former vaudeville headliner now reduced to piano playing in a cheap bar, splits with his wife, Constance Dowling, she is found murdered. Miss Dowling had been blackmailing several men and John Phillips, who is seen fleeing her apartment, is arrested and sentenced to death on circumstantial evidence. However, Phillips' wife, June Vincent, believes in his innocence and enlists the aid of Duryea in apprehending the real murderer. Suspecting Peter Lorre, owner of the night club where Miss Dowling sang, Duryea and Miss Vincent audition and get jobs as entertainers in the club. Miss Vincent attempts to pilfer Lorre's safe but is caught by him and, when the police arrive, he reveals that he had paid off Miss Dowling and is innocent of the crime. Meanwhile, Duryea has come to love Miss Vincent and, when she turns him down, he goes off on a drunken spree. In an alcoholic haze, he subconsciously re-lives the night of his wife's murder and he realizes that he, himself, had committed the crime. Because of his love for Miss Vincent, Duryea gets in touch with the police in time to stop Phillips' impending execution. Although his usual surly character has been considerably white-washed. Dan Duryea turns in a sound acting job and shows promise of becoming another Bogart. Peter Lorre, as a suave night club owner, and Freddie Steele, as his sadistic bouncer, are both excellent and Broderick Crawford also does well as an understanding police captain. However, the two women involved, June Vincent, as the troubled heroine, and Constance Dowling, as the blackmailer, are similar blonde types and neither is more than adequate. LEYENDECKER 'PASSKEY TO DANGER' ENGROSSING PROGRAM MELODRAMA Rales • • as supporting dualler only Republic 58 minutes Kane Richmond, Stephanie Bachelor, Ger a'd Mohr, Adele Mara, Gregory Gay, George ■j. Lewis, John Eldredge, Tom London, Divested by Lesley Selander. Another one of Republic's fast-moving, entertaining programmers running less than an hour, "Passkey to Danger" neatly serves its purpose — to round out the average dual bill in naborhood or action houses. Although lacking in name value, each of several familiar players, especially Kane Richmond and Stephanie Bachelor, do capable acting jobs. Miss Bachelor, the tall, striking brunette with excellent diction who has played in a string of these "C" pictures, is well cast as an efficient advertising secretary and Kane Richmond gives a convincing twofisted portrayel, while Gerald Mohr, Gregory Gay and George J. Lewis do good work as suave villains. While the story is far-fetched, it is unusual because the audience is kept in the dark as to the reasons for the hero's difficulties and dangers in presenting an original, yet completely innocent, "teaser" ad campaign. There's murder and gun-play, as well as a realistic fistic battle, to keep action fans satisfied. Kane Richmond, young advertising executive, sells an original advertising "teaser" campaign to Gerald Mohr, owner of a dress firm, for which he is to receive $100,000 when the final proofs are delivered. After the advertising layouts which tell of a secret idea called "The Three Springs," begin to appear, Richmond finds himself accosted by various well-dressed men who demand the solution of the a campaign. Actually, Richmond's idea is about dresses to be worn at Saratoga Springs, Palm Springs and Colorado Springs, but he refuses to show this final layout even when Mohr demands it. After he is beaten up and becomes involved with a beautiful girl, Adele Mara, who is later found murdered, Richmond learns from a private detective, Tom London, that, years before, three brothers named Spring had embezzled millions of dollars and later escaped from prison. Richmond and London realize that these three, now under assumed names, are afraid that his advertising campaign will reveal the long-hidden secret of their identities. Aided by his fiancee, Stephanie Bachelor, and London, Richmond lures the brothers to his office and there Mohr is revealed as one of them before they are all captured by the DENLEY even radar can't find out who kept that AENDfZVous wi*h AHHli 20 'NIGHT TRAIN TO MEMPHIS' Rates © © in rural spots; weak dualler Republic 67 minutes Roy Acuff. His Smoky Mountain Boys, Allan Lane, Adele Mara. Irving Bacon, Joseph Crehan, Emma Dunn, Roy Barcroft, Directed by Lesley Selander. A corny programmer which gives Roy Acuff and His Smoky Mountain Boys ample opportunity to deliver the type of hill-billy music which has brought them airwaves fame. In the South, where Acuff's radio programs and recordings are popular. "Night Train to Memphis" should attract good grosses, and rural fans will enjoy the story's many homey touches. However, in metropolitan naborhoods it will enjoy the story's many homey touches. However, metropolitan naborhoods will barely get by as a supporting dualler. It's a typical backwoods plot, peopled with the usual honest. God-fearing hayseeds and a heartless railroad magnate who almost puts something over on them before he is won over by their trusting nature. Although the plot is developed in an obvious manner, there is considerable fisticuffs and gun-play in the exciting climax. YORK FILM BULLETIN