Boston Blackie, ex-convict and amateur magician, is doing his act at a prison-for-women, and an inmate takes the opportunity to do her own disappearing act while Blackie is doing his. Held as an accomplice, Blackie gets away and starts the search to find the escapee, and her ex-husband who was involved in the crime for which she was sentenced to prison. Written by
Les Adams <firstname.lastname@example.org>
In his book "The Detective in Hollywood" Jon Tuska cites director Edward Dmytryk as reminiscing that actor Chester Morris loved doing magician's card tricks on set during the Boston Blackie pictures. See more »
While Boston Blackie is performing a magic show at a women's prison, one of the convicts escapes. Naturally, Blackie is accused of helping with her escape. The Boston Blackie series was often repetitive but this one might take the cake as this is a reworking of Alias Boston Blackie, changing the gender of the escaped prisoner and the season to Thanksgiving instead of Christmas. More repetition as we get one of Blackie's trademark disguises, unconvincing as always. It really is amazing that the Boston Blackie series was as enjoyable as it was, given how many flaws it had. Just a testament to the charm and screen presence of Chester Morris, as well as his likable co-stars Richard Lane and George E. Stone. Lane in particular had his work cut out for him as the series did his Inspector Farraday no favors. If you take Farraday out of the often comical light the films cast him in, it's a rather unsettling character. A police detective who continually abuses his authority and powers to persecute a man who, according to the films, has paid his debt to society. One film even had Farraday chasing Blackie across the country where he clearly had no jurisdiction. In reality (even in the 1940s), he would have lost his badge long ago and Blackie would be able to sue the police for harassment.
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