Vergessene Stunde

This interesting, creative film-noir is much less widely known than are most of the classics of the genre, but it is well worth seeing both for the story and the cast. In a relatively brief running time, it packs in a satisfying and unpredictable story with numerous turns, with a very good cast that work together quite well. The settings are well-conceived, and together with the photography and the rest of the production, they establish a convincing noir atmosphere.

Dan Duryea is always so good at straightforward villainous "noir" roles that he sometimes seems not to have received many opportunities to do anything else, and so it's very nice to see him get such an interesting role here. He delivers very well, believably portraying the different sides of a more complex character. He also works surprisingly well with June Vincent, as together they try to solve the mystery.

Peter Lorre does not have a very large role, but as you would expect, he makes the most of it. Toss in Broderick Crawford as the police captain, and you have a cast very well suited for film-noir.

The story is not all that complex, but it is well-written, features some well-conceived turns, and fits together nicely. Roy William Neill has a good touch with the material, not trying to make it fancier or bigger than it is, but simply crafting a solid, enjoyable movie that has just about all that you could reasonably ask for in a film-noir.

It wasn't that Dan Duryea never played nice people. He could be typecast as an evil villain most of the time, but occasionally he got cast as a nice guy. The best examples of this is the movie executive in KATHIE O (1958), who helps a young child actress save her normal life from her mother's clutches, and this film, where he tries to help a condemned man's wife prove the man is innocent. The chief suspect is a crooked nightclub owner (Peter Lorre), and Duryea and the young lady attempt to get the proof to convince a police detective (Broderick Crawford) that Lorre did the the crime. Duryea (a musician) is the boyfriend of the murdered woman, and has an interest in finding the perpetrator. And he does at the end, but at considerable cost.

A superior film noir, and well worth the watching.

For noir fans, Duryea is the quintessential "bad guy" and hardly ever the leading man, therefore I was surprised to see him billed as such in this movie.

Turns out, this is a perfect little gem of a noir. The evil femme fatale is Mavis Marlowe (Dowling), as a singer with a penchant for blackmail and who one night meets her fate.

Several men are among her victims and they could all be suspects, including ex-husband, drunkard piano player Martin (Duryea), who is still in love with Mavis.

The police pins the murder on Kirk, who is married with Catherine. She is a devoted wife and willing to forgive her husband's indiscretion, but most of all Cathy will never believe Kirk is a murderer. We know he isn't from the start, but what can Cathy do to prove it, thus saving Kirk from the gallows?

She joins forces with Martin, a character who shows Duryea actually had a range. Martin starts falling for Cathy, but will pursue the search for the real murderer at all costs.

Enjoy the musical numbers and the small role played to perfection by the suavely sinister Peter Lorre.

"Black Angel" (Universal, 1946) is one of the most entertaining films noir of the 1940s, that era when Hollywood discovered the genre and brought to it a high polish.

In this outstanding dark mystery, based on the novel of the same name by Cornell Woolrich, director Roy William Neill guides stars Dan Duryea and June Vincent through a byzantine plot that begins with murder and proceeds through the arrest and conviction of an innocent person, then finally ends with the true murderer being uncovered.

It sounds simple and straightforward, but Neill keeps the audience off balance throughout. Just when we think one piece of evidence will pay off, it doesn't. When we think another bit of business is benign, it turns out to be a crucial clue to the unraveling of the mystery.

Duryea and Vincent are compelling throughout, and they are supported by two excellent character actors, the always-sinister Peter Lorre and future Oscar winner Broderick Crawford.

And I like to think that with "Black Angel," Universal finally atoned for the fatal mistake it made with another Woolrich thriller, "Phantom Lady," in 1944. In the book "Phantom Lady," written by Woolrich under his pseudonym William Irish, the plot was a tightly woven murder mystery, with the revelation of the culprit coming as a surprise to all but the cleverest readers. But when the story was filmed in 1944, Universal made the outrageous decision to reveal the killer's identity to the audience from the start.

In "Black Angel," the murderer's identity is kept from the public until the end, the suspense is sustained, and the final scenes allow the audience to exhale after an hour and a half of diverting tension.

Now that "Black Angel" is available in VHS, you can enjoy one of the finest examples of American film noir on your own screen.

This claustrophobic B featuring the usually unctuous Dan Duryea in the lead is a patient and understated murder mystery. Cleverly laid out it does a fine job of leaving the viewer in the dark until the film's final moments.

Tease, blackmailer, hard on the help, easy on the eyes Mavis Marlowe (Constance Dowling) is murdered. Kirk Bennett stumbling upon the scene is accused tried and sentenced to death. His wife Cathy (June Vincent) however is determined to prove him innocent and together along with Marlowe's former husband, pianist songwriter Marty Blair (Duryea) they launch an elaborate plan to catch the killer and save Bennet from the chair.

Angel is a gruff film featuring a slew of surly types. Mavis is pure poison, nightclub owner Peter Lorre an unsettling threat, Broderick Crawford a cynical dick, Bennet's husband a worthless bungler and Duryea himself a raging alcoholic attempting one day at a time. Roy William Neil's direction is sober and subtle deftly handling not only the mystery but the romantic implications between Marty and Cathy arriving at denouement without resorting to sensationalism. An impressively handled low key mystery.