Tag: Lyle Talbot

The Thirteenth Guest (1932, Albert Ray)

The Thirteenth Guest has a lot of problems, but its biggest failing is Frances Hyland’s script. Hyland doesn’t just have a lot of logic problems, he also has a bunch of lousy humor. There’s Paul Hurst’s moronic police detective, who Hyland relies on for Guest‘s version of comic relief. Hurst whines a lot and annoys J. Farrell MacDonald, who should be a lot better as his superior. Why isn’t MacDonald better? Because Hyland writes in a bunch of jokes about MacDonald being upset about eccentric wealthy people.

But the dumbest part of Hyland’s script has to be protagonist Lyle Talbot’s passionate anti-murder position. He just can’t stand murder… as opposed to being pro-murder. But Hyland also decides to make the dapper Talbot a reluctant genius detective. So, while Talbot can’t stand murder, he apparently can’t stand having to solve murder cases even more.

Still, Talbot gives a strong performance and, at times, he nearly makes Guest worthwhile. There are some other good supporting performances from James Eagles and Frances Rich. In the other lead role, Ginger Rogers is somewhat ineffective. She’s a lot better in her first scene than she is in the rest of the picture.

Ray’s direction isn’t bad, but Leete Renick Brown’s editing is terrible. The low budget hurts Guest quite a bit. Ray isn’t able to establish any settings. It all looks too cheap in daylight.

Guest should have a compelling narrative, but the budget keeps those involved from taking advantage of it.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Albert Ray; screenplay by Frances Hyland, based on the novel by Armitage Trail; directors of photography, Tom Galligan and Harry Neumann; edited by Leete Renick Brown; produced by M.H. Hoffman; released by Monogram Pictures.

Starring Lyle Talbot (Phil Winston), Ginger Rogers (Marie Morgan), J. Farrell MacDonald (Police Capt. Ryan), Paul Hurst (Detective Grump), Erville Alderson (Uncle John Adams), Ethel Wales (Aunt Jane Thornton), James Eagles (Harold ‘Bud’ Morgan), Crauford Kent (Dr. Sherwood), Eddie Phillips (Thor Jensen), Frances Rich (Marjorie Thornton) and Phillips Smalley (Uncle Dick Thornton).

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A Shriek in the Night (1933, Albert Ray)

For the first twenty minutes or so–it runs just over an hour–A Shriek in the Night seems like it might be a decent, b mystery. Ginger Rogers is appealing as the reporter undercover as a murder victim’s secretary and Purnell Pratt is great as the police inspector on the case.

Unfortunately, it isn’t about the two of them solving the case, which would have been amusing. Instead, Lyle Talbot is playing her newspaper rival slash boyfriend and it’s about him and Rogers on the case. Only there’s not much of a case. I can’t really think of a less interesting mystery than Shriek, as it has none of the genre’s compelling components. There isn’t a large cast of suspects, the motive for the murder is lame and the killer’s method is lame too.

Maybe the film could have still succeeded, even with those three strikes (I’m actually not sure–a mystery without any suspects seems a little handicapped) but it’s also got Talbot to contend with. I’m not sure what’s worse–Talbot’s performance in general or his lack of chemistry with Rogers in particular. I don’t think I’ve ever seen a more mismatched couple–and this film was their second as a pair, so someone must have thought they got along well onscreen; that someone was wrong.

The rest of the cast is weak too. Arthur Hoyt and Harvey Clark, in particular, are awful.

The film seems to be unable to decide if it’s a farce or a serious mystery.

But, who cares?

Parole, Inc. (1948, Alfred Zeisler)

I enjoy old b-movies. They tend to be harmless and occasionally amusing. Parole, Inc. might be a c-movie, however, since it’s not from a studio (I wonder if direct-to-DVD will ever, since real studios are now making them, raise to a b-movie quality level). Parole, Inc. isn’t really amusing. It’s a heavy-handed looked at parole board corruption and there’s even scrolling text at the beginning to inform the audience it’s a serious problem in the United States. I thought the scroll was funny, but then the first scene is someone dictating a report with exactly the same information, but Parole, Inc.‘s got a lot of superfluous little things. It’s a competent seventy minutes, but it’s not artfully made by any stretch.

I found the movie through Evelyn Ankers, who made Parole, Inc. after her Universal contract was up, and she plays a female mobster named Jojo. Somehow, while she doesn’t pull it off in any way, she doesn’t embarrass herself (another benefit of b-movie brevity, actors don’t have too much to do). Around halfway through, I realized the lead (the cop on the inside of the gang) Michael O’Shea, was doing a good job. But he’s unappealing in some awkward way, one I won’t even bother trying to describe, but the film’s so concisely plotted–it takes place over a month or so and, while there are a lot of characters, the mob henchmen are all one blob so they don’t get confusing. Charles Bradstreet is sometimes bad, but he’s in it for the first half and he’s appealing. When he goes and O’Shea doesn’t have a response, the lack of any concern really puts Parole, Inc.‘s genre apart–it’s unthinkable O’Shea wouldn’t respond, but maybe that lack of any depth is what makes Parole, Inc. watchable. It doesn’t try and it doesn’t fail.

There is one interesting aspect, structurally, about the film–we know at the beginning O’Shea gets badly injured while solving the case. The successful pursuit of the criminals isn’t in question. Except, nothing’s done with that structure, it’s not taken advantage of in any way. There’s no suspense to Parole, Inc., which there should be, but somehow the filmmakers were fully convinced their paint-by-the-numbers, no subtext story was compelling. And it is, which is weird.

1/4★

CREDITS

Directed by Alfred Zeisler; screenplay by Sherman L. Lowe, from a story by Lowe and Royal K. Cole; director of photography, Gilbert Warrenton; edited by John Faure; music by Alexander Laszlo; produced by Constantin J. David; released by Equity Pictures Corporation.

Starring Michael O’Shea (Richard Hendricks), Turhan Bey (Barney Rodescu), Evelyn Ankers (Jojo Dumont), Virginia Lee (Glenda Palmer), Charles Bradstreet (Harry Palmer) and Lyle Talbot (Hughes).

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