Two O'Clock Courage

Finding himself with a bloodied head, and suffering from amnesia, suave Tom Conway is nearly run over by pretty cab driver Ann Rutherford (as Patty Mitchell). Riding around, Mr. Conway discovers clues to his identity, including five hundred dollars in his suit pocket. A news flash connects Conway to recent murder, but Ms. Rutherford doesn't think her passenger is guilty. The pair try to solve the murder mystery while love blooms. Director Anthony Mann isn't as artful as in later years. "Two O'Clock Courage" turns out to be the name of a play that figures in the plot. By the time the mystery is solved, it's not very interesting. Fortunately, the well-endowed Rutherford, Jane Greer (as Helen Carter), and Jean Brooks (as Barbara Borden) are around to keep it looking good.

****** Two O'Clock Courage (4/13/45) Anthony Mann ~ Tom Conway, Ann Rutherford, Jane Greer, Jean Brooks

This came before Anthony Mann's famous, unique and quirky noir. By the time it was made, there had already been many authentic films noir. However, this updates what had been a formula throughout the thirties: the romantic/comic/mystery. There is romance. There is some comedy. But instead of mystery: We have here a true film noir. (The difference between this and other entries in the genre makes the importance of a good director very clear.) It begins with Tom Conway, in an excellent performance, looking at a sign noting an intersection of two streets. He doesn't know where there are, where he is. Or, even, who he is. Amnesia, yes indeed.

Now the comedy: Ann Rutherford, a female cab driver, happens by and helps him out. She calls her taxi Harry and, later, people get confused and think Harry might be the name of a suspect.

Though this has its light moments, it is a dark little movie. (And little it is, at just a bit longer than an hour.) We have a comic newspaperman and a semi-comic police officer. But we have some genuine bad guys too, and some women who are right out of the noir canon as well.

Among these is Jane Greer in a very early appearance. Though her role is small, she grabs out attention. The camera loves her, almost in the way it was to love a very different sort of performer: Marilyn Monroe. Though Greer doesn't have a lot to do or a whole lot of screen time, when she's around, we can't take our eyes off her. Now, there was real (and sadly underused) star!

Very well done who-done-it. I love mysteries and watch it every time it is broadcast. Tom Conway plays a man with amnesia who seems to be implicated in a murder plot, but obviously doesn't know whether he was the murderer or not. As the plot thickens it seems more and more like he might have been.

I did not realize for some time that it is a remake of the 1936's "Two in the Dark". This version is much better. Primarily due to Tom Conway's charm and Ann Rutherford's spunk. I don't think this one is quite as good as most of the "Falcon" series, but Conway never really got the credit or the opportunities he deserved.

A rather rushed whodunit, with the plot weaving all over the place littering the screen with suspects, motives and distractions. At the end we have an anti-climax solution followed by the real killer being revealed. Bewildering? Thankfully Mann's direction is solid and the main leads Tom Conway and Ann Rutherford do a good job putting over the somewhat unlikely plot.

The Noir Festival programmer at the American Cinematheque in his comments before the screening (where I saw this gem) quipped like many RKO b pictures this one has story contrivances that cut costs like most of the characters staying in the same hotel. But it gets a bit much when Conway's character gives the police the slip to search a room elsewhere in the hotel which results in a fight that the cops can hear through the ceiling. Talk about plot contrivance!

Basically a light-hearted mystery programmer in the style of the 1940s, Two O'Clock Courage claims attention by virtue of having been directed by Anthony Mann, before his legendary collaboration in film noir with cinematographer John Alton. It also happens to be a pretty good movie, of its limited type, in its own right.

It opens at the fog-shrouded intersection of Ocean View Drive and Arch Street where Tom Conway, looking and sounding eerily like his more successful brother George Sanders, bleeds from a head wound and can't remember who he is. Skidding to his rescue in a taxi comes game hack Ann Rutherford (a sister under the visor to On The Town's Brunnhilde Esterhazy), who becomes his sidekick even though it turns out he may be mixed up in a high-profile murder. Trying to establish his identity and what he might have done (or not done), the pair travel through a theatrical/nightlife milieu; the mystery concerns a plagiarized play written by a dead man, which shares its title with this movie.

There are the staple characters of the sub-genre: the befuddled butler, the snoopy landlady, the apoplectic editor. There's also, as a society floozy, young Jane Greer (billed here as `Bettejane'). Two O'Clock Courage doesn't show much of the flair Mann would later bring to suspense, even, the following year, to Strange Impersonation. But he keeps his eye on the ball, and never lets the unraveling of the mystery take a back seat too long to the farcical episodes (which mercifully he keeps from growing too extended or too broad). All in all, it's a more satisfying effort than similar and better-known efforts from around the same time, like A Night to Remember or Lady on a Train.