Looks like the film that might have inspired Hugo Hass to make one like it twice a year in the early fifties. Connie (June Lang) is all smitten with lighthouse keeper Sam Wells (Don Castle), but he brushes her off and she ups and marries his fellow-lighthouse keeper Hank Armitage (John Litel) out of spite. All three live together in the close confines of the lighthouse and jealously and recrimination rise nearly as high inside as the pounding surf and howling winds outside. It also begins to look like an Edgar G. Ulmer) film, if it wasn't so semi-rational. Sam is pleased with the situation that appears to him to promise action with no responsibilities. But Connie, in addition to rebuffing Sam's unwanted passes, is actually falling in love with ol' Hank. Trouble is brewing. Written by
Les Adams <firstname.lastname@example.org>
John Litel marries June Lang, while spurning Don Castle
"Lighthouse" has music that sets a noir tone, and the cinematography likewise. The story also goes right in that direction, especially in the potential for Don Castle to sabotage the marriage of June Lang to John Litel. He lives up to that potential too in trying to do away with Litel and in having a serious fight with him on a circular staircase. I'd classify "Lighthouse" as a film noir.
Castle and Litel keep a lighthouse on an island, Litel being the boss and Castle the assistant. Castle is stringing Lang along on shore with lies. She expects marriage but he's already married. When she finds out, she marries Litel for spite, not love.
The three of them live on the island, but there is plenty of room for Castle to make advances on Lang and otherwise bring up her past with him and other men. Will this marriage fail or will love blossom in Lang? Will Litel turn against Lang? How far will Castle go to see to it that if he can't have Lang, neither will Litel? I found the conflicts developed nicely in this worthwhile production. The sea and the lighthouse, combined with moody music and photography, created a nice noir setting. It reminded me of "A Stolen Life" and "Voice in the Wind", although this is a very modest PRC production. Film editing was good. The story moved right along with nice combination of longer scenes and quick transitions.
Castle adds excellent leading man substance to a number of noirs, including "Roses are Red", "The Invisible Wall", "High Tide", "The Guilty", and "I wouldn't Be in Your Shoes". Litel, of course, is a veteran.
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