rastar330

Although billed as a guest, Rathbone is actually a major player in this labored farce. Despite ploddingly pedestrian direction and unfunny dialogue, the film still manages to held one's interest, thanks mainly to the game efforts of the players (particularly Quinn O'Hara) and the use of American-International's standing horror sets (which certainly give the movie "class"). The songs also are catchy enough, although it's Nancy Sinatra who provides the stand-out number, "Geronimo". She then, alas, disappears as the spotlight shifts to the nubile Quinn O'Hara. I'm not complaining, but it would have been nice to see more of Nancy as well. Karloff fans will also be disappointed as the king of menace is given little to do but comment on the action from time to time. Oddly, although everything has been thrown into the pot in a desperate attempt to make the picture as appealing as possible, contemporary audiences stayed away. For all its heavy-handedness, however, the movie bears at least a little bemused watching. And, as said, it's an absolute must-see for Nancy Sinatra and Quinn O'Hara fans.

Comedy noir would seem to be a contradiction in terms, but there are in fact movies in this vein that deserve serious attention, particularly The Ladykillers (1955). Produced for Michael Balcon by the multi-talented Seth Holt, and easily ranking as the most ingratiating LOL movie of all time, this wittily-plotted, thoroughly macabre comedy is propelled by a superb cast led by the redoubtable Katie Johnson in the best (and second last) role of her entire career. Her superlative performance (she won the British Academy Award for Best Actress) is aided by a stellar support cast in which Alec Guinness, Cecil Parker and especially Danny Green, shine.

Comedy noir would seem to be a contradiction in terms, but there are in fact movies in this vein that deserve serious attention, particularly The Ladykillers (1951). A much lesser entry, however, is Universal's 1940 release, Half a Sinner, in which a none-too-flatteringly photographed and costumed Heather Angel is pursued not only by comic cops and comic crooks but by smiling bland man, John King. The second last of over 400 films (many of them shorts) directed by comedy giant, Al Christie, this Trouble with Harry/Midnight Manhunt effort is somewhat repetitious but pleasant enough to talk during and even come late for. The players do what they can with their something-borrowed (cf. the overcoat device in Manhattan Melodrama), something-thin material, but only Clem Bevans, Tom Dugan, William B. Davidson and ever-reliable Constance Collier really shine.