Tom Cochrane (Leo Penn'), full of dope (cocaine) and covered with blood, is picked up by the police and then questioned by detectives Shannon (Douglas Fowley) and Taylor (Harry Strang), but...
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Jim Fletcher, waking up from a coma, finds he is to be given a court martial for treason and charged with informing on fellow inmates in a Japanese prison camp during WWII. Escaping from ... See full summary »
Two guys, sharing an apartment, meet twin girls (both Bonita Granville). One's sweet, the other a major piece of bad news. The nice one is murdered and her boyfriend is accused of the crime. The wrong man-wrong victim plot strikes again.
Tom Cochrane (Leo Penn'), full of dope (cocaine) and covered with blood, is picked up by the police and then questioned by detectives Shannon (Douglas Fowley) and Taylor (Harry Strang), but manages to escape. His girl friend Lois Walter (Teala Loring) , against the wishes of her guardian, Jim Grosset (Charles Arnt), assists Tom and his police-officer brother-in-law Mac McLane (Robert Armstrong) in trying to clear Tom of a possible murder charge. Tom only recalls meeting a man in a bar and going to a party. Tom and Mac find the man, Joe (Elisha Cook Jr.), who takes them to the party scene, the apartment of the Sindells, where they find the body of a murdered girl in the apartment above. The police pick up Mac, while Tom trails Marie (Virginia Dale and Mike (Jack Overman). Joe is murdered for leading Tom to the scene of the crime, and Marie, who had been hired by the killer to get Tom at the apartment when the crime was committed, is choked to death. Tom, following the killer of Marie, ...Written by
Les Adams <firstname.lastname@example.org>
You don't want to know what happened when the lights went out
The alcoholic blackout - and the morning after when there are dreadful questions to which memory can't supply the answers - is a recurrent theme in the work of Cornell Woolrich. No stranger to the lure of the bottle, he reveled in a queasy sort of masochistic guilt which he tried to exorcise through his obsessive fiction.
In Reginald Le Borg's Fall Guy, based on Woolrich's story `Cocaine' (though `Ethanol' would be the more apt title), Clifford Penn wakes up in a psych ward. There's blood on his clothes, and the police are barking questions at him. He gives them the slip and heads home where his brother-in-law, police detective Robert Armstrong, tries to straighten him out with black coffee. Armstrong's benders are frequent, to the disgust of Armstrong and Penn's fiancée Teala Loring (her guardian, `family friend' Charles Arnt, is especially sour on Penn's shenanigans). But this time Penn is convinced he killed a woman.
Fragments of the past start to resurface. A stranger at a bar (Elisha Cook) invited him to a party; there a blonde (Virginia Dale) sang `Tootin' My Own Horn' and urged him to drink up (they slipped him a high-powered Mickey Finn). When he came to next morning, a dead blonde tumbled out of the closet; he picked up the knife as a keepsake (who wouldn't?), then ran into the police.
When Penn and Armstrong try to retrace his drunken steps, odd things occur. Cook at first denies ever having met Penn, then gets shoved into traffic. Penn catches sight of the horn-tootin' blonde, supposedly dead; they finally track her down, but somebody else is following her trail as well....
Monogram Pictures put the `poverty' in Poverty Row. Its releases were hastily cobbled together from whatever talent (or lack thereof) happened to be around on any given day. Fall Guy is no exception. Acting runs the gamut from the adequate to the amateurish. A profusion of night scenes disguises the crummy sets (though there are a couple of visually inventive shots: A silhouette lurks in an alcove, wreathed in cigarette smoke; Armstrong reads a sealed letter by holding a lighter behind it and the words shimmer into relief). There's a rendezvous in a movie house where the (unseen) movie must have been Monogram's Decoy from the previous year, for we hear its sweeping symphonic theme, composed by Edward J. Kay, musical director for Fall Guy (but then he used exactly the same theme in Las Vegas Shakedown; maybe it's the only one he ever wrote).
Fall Guy brings to mind another noir drawn from Woolrich's febrile imagination: The much better Black Angel. In that movie, Dan Duryea tries to reconstruct another evening that ended up in homicide, only to learn that his blackest nightmares are true. Fall Guy, casting about for a sunnier wrap-up, opts for a the-butler-did-it resolution. It's like finding the stiff drink you hoped for is nothing but ginger ale with a dash of bitters thrown in.
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