Directed by Michael Curtiz, written by Charlotte Armstrong (novel), Bess Meredyth (adaptation) and Ranald MacDougall (screenplay). Great cinematography by Elwood Bredell and music was by Franz Waxman.
The film stars Claude Rains, Joan Caulfield, Constance Bennett, Hurd Hatfield, Ted North, Jack Lambert, and Audrey Totter. WOW, this turns out to be a very entertaining, who-done-it, where you kinda know/guess who-done-it but don't really care because it's a great ride with very witty dialog getting to the end with quite a number of unexpected twists along the way.
Another plus for me is its New York references and location shots, Grand Central Station, the 3rd Avenue el, a three tailed PAA Lockheed "Connie" Constellation, Peekskill, Croton, the Queensboro Bridge, The Hell Gate Bridge, Wards Island, The Sawmill River Parkway, and the old main terminal at Laguardia Airport to name a few.
The story starts out with a murder in a Croton Mansion belonging to millionairess Matilda Frazier (Caulfield) who at the onset we learn has been lost with all hands in a fire at sea. Living at the mansion is Matilda's uncle and ward to her estate, popular writer, and radio mystery/true crime show host Victor Grandison (Rains), along with his other niece Althea Kean (Totter) and her drunkard husband Oliver (Hatfield) who don't have a penny between them.
|Althea (Totter) and Oliver (Hatfield)|
|Matilda (Caulfield) and Steven (North)|
|Mr. Press (Lambert)|
|Jane Moynihan (Bennett) in booth directing radio program|
|Secretary Roslyn (Barbara Woodell)|
We cut to Manhattan and Victor's radio program where we meet producer Jane Moynihan (Bennett), and as Victor is doing his spiel on the murder that was faked as a suicide in his mansion, we zoom in on a speaker and in turn cross-fade to a steam locomotive emerging from a tunnel then to a portable radio in a New York Central passenger car heading north where Steven Francis Howard (North) is listening apprehensively to the details of the case and then we rotate out the window and see Oliver superimposed by reflection on the town of Peekskill rolling by.
Next we leave the train and zoom up Peekskill's main drag to the exterior of Hotel Peekskill and in turn find ourselves inside a darkened hotel room that has a shrouded figure (Lambert) on a bed listening to a radio also with Victor's program. The room is lit only by the flashing light of the hotel sign and the letters viewed from the window spell "KILL", "KILL", "KILL" and iconic Noir sequence if there ever was one.
The Hotel Peekskill sequence:
|Althea (Totter) & Howard (North)|
New York City (circa 1947)
|Gasometers (gasholders) just North of the Queensboro Bridge|
|Queensboro Bridge at 59th Street Manhattan|
|Toll Booths on Henry Hudson Bridge|
|Henry Hudson Bridge over the Harlem River|
|Grand Central Terminal at 42nd Street|
|old style wooden N.Y. State parkway lights|
|Motorcycle cops on Vernon Blvd. along Queensbridge Park with 59th Street Bridge in the b.g.|
Below is a still from the final chase sequence, it's a shot taken from Wards Island and looking across the East River towards The Hell Gate and Triboro Bridges. Being originally a native New Yorker when I first viewed the film I noticed something off, the image is reversed.
The correct camera view is below. We are looking South across the East River towards the North end of Astoria Park where both the Hell Gate and Triboro Bridges cross the river. You can see a part of Manhattan skyline under the Triboro Bridge. Just out of the picture to the left would be Con Edison's Astoria Powerhouse and two large gasometers.
The film also has a pretty good chase sequence at the end but of course it's movie geography that anybody familiar with NYC and environs will get a laugh out of. 10/10