MANHUNT OF MYSTERY ISLAND (1945) is a fun serial from Republic Pictures, despite Richard Bailey’s ineffective performance as ace criminologist and nominal hero Lance Reardon. To make up for that we have veteran serial villain Roy Barcroft scowling as Captain Mephisto, who’s imprisoned a brilliant scientist on Mystery Island to steal the secrets of his invention for broadcasting electrical power wirelessly. On the good guys’ side we have Linda Stirling (who appeared the year before in Republic’s Tiger Woman), who’s not only more fun than the hero, she’s extremely capable, saving him a half-dozen times and proving she’s a crack shot even with her arms bound. Like many serial villains Mephisto has a secret identity, created by using a “transformation machine” to change back and forth from one of the owners of Mystery Island (some sources refer to this as reincarnation or time travel but no, it’s just a physical change by pseudoscientific gobbledygook). Definitely fun if you’re into old-time serials. “It’s dangerous — but we’re all in danger, every moment that man lives!”
DRESSED TO KILL (1947) wraps up Basil Rathbone’s run as Holmes (horrifying fans at the time) with a reasonably ingenious mystery. Patricia Morrison plays a female schemer strangely determined to collect three music boxes by fair means or foul, but what secret do they contain that she’s willing to kill for? This has some nice touches like Morrison setting a trap for Holmes by leaving her distinctive cigarette at a crime scene (“I’ve read your monograph on distinguishing 140 types of tobacco.”). “So fearfully awkward to have a dead body lying around, don’t you agree Mr. Holmes?”
TYG recently bought the DVD of DADDY’S DYING … WHO’S GOT THE WILL? (1990) which I’d vaguely assumed was a lowbrow Southern comedy. It’s actually a well-done dramedy about a family (wild child Beverly D’Angelo, frustrated Tess Harper and abusive jerk Beau Bridges) showing up at their dad’s deathbed alongside various partners (most notably Judge Reinhold as D’Angelo’s hippy boyfriend). I don’t like it as much as she does, but I did enjoy it. “I don’t think it’s God’s will you have six husbands before you’re 40.”
Alfred Hitchcock again — EASY VIRTUE (1927) is what The Hitchcock Romance would classify as an ironic romance, in that the obstacles triumph over the lovers. A beautiful divorcee (another example of Hitch’s Innocent Accused trope, in this case accusations of adultery) finds new love only to have it slip through her hands due to the hostility of her husband’s family turning him against her (it’s already doomed by the time her past comes to light). This filmed adaptation of a Noel Coward play interested me even less than The Lodger but the heroine’s relentlessly hostile mother-in-law is very much the forerunner of countless nightmarish mother figures in Hitchcock’s later works. “We married because we loved one another — no explanations were necessary on either side.”
THE PHOTOGRAPHER OF MAUTHAUSEN (2018) is a Spanish docudrama set a Nazi-run camp for Spanish communists shipped there by Franco. One of them becomes assistant to the camp photographer relentlessly documenting the brutalities around them; when he realizes the Nazis will want to destroy the evidence someday, the assistant sets out to preserve as many photos as possible. Effective at showing (as the director Ernst Lubitsch once put it) that it no more takes sadism to run a death camp than it does a laundromat; the callousness with which the Nazis deal with their charges is chilling. “The party is paranoid and it needs to clean up its mess.”
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