The Falcon's Alibi

While in jail, The Falcon tells Goldie that, when in a jam, insouciance is required. Suave insouciance is Tom Conway's forte, but there is too much of that here. Conway is heading toward apathy. After all those previous Falcon movies, Conway seems like he is walking through his part. His performance lacks energy. The same could be said for Rita Corday. Jean Brooks, who always played a most intriguing romantic part in previous Falcon films, has so little to do here, she is practically an extra.

I suspect that this film was made as a showcase for Jane Greer. Her part with Elisha Cook, Jr, unstable as usual, is almost a separate story. Greer has many closeups and sings sultry songs. She gets a lot of attention in an other rushed movie.

The mystery is not really developed but it is okay. It is always nice to see the Falcon. He was a proto-James Bond

The Falcon RKO film series is mostly very enjoyable, with both George Sanders and his brother Tom Conway who took over from him being great in the title role.

Admittedly, some are better than others. For examples there are some particularly fun entries such as 'The Gay Falcon', 'A Date with the Falcon', 'The Falcon Strikes Back', 'The Falcon and the Co-eds', 'The Falcon in Hollywood' and 'The Falcon in San Francisco', while others while still very much watchable disappoint a little such 'The Falcon's Brother', 'The Falcon in Danger', 'The Falcon Out West' and 'The Falcon in Mexico'.

On the most part, while not fitting among either extreme of whether among the best or weakest Falcon films, 'The Falcon's Alibi' is solid fun and works well. The culprit is pretty obvious early on, almost from when they are first introduced, and the ending is a little hasty and abrupt (not an uncommon problem in this series). While most of the supporting cast are great, there are a few that don't quite make an impression.

Jean Brooks is wasted due to being given so little to do, and while Al Bridge and Edmund Cobb do alright, they are in types of roles filled more effectively in the Falcon series by Cliff Clark and Edward Gargan as well as James Gleason. Vince Barnett was only serviceable as Goldie, personally thought that Edward Brophy had more enthusiasm and that Allen Jenkins was more of a scene-stealer, Barnett was an admirable stooge but his material is a little bland in places and he occasionally overdid it (by all means not a bad performance).

However, a lot also does work. The music is lively and haunting, the songs are particularly great and the use of them ingenious, and on the most part the production values are slick and atmospheric with particularly nicely done photography. The film is directed with liveliness and tautness, while the script is playful and much of the story is absorbing and goes at a bright and breezy pace with the odd bit of dark suspense.

Conway is dapper, suave, charismatic and amusingly cutting here, he always thrived in the title role and 'The Falcon's Alibi' sees him give one of his most confident performances in the role. Rita Corday is low-key and charming, while Emory Parnell is amusing (though his screen time is short) and Esther Howard and Jason Robards Snr are solid. The two best supporting performances are a sizzling Jane Greer and a sinister Elisha Cook Jnr.

All in all, solid fun if not among the best or weakest of a mostly enjoyable series of films. 7/10 Bethany Cox

This is the twelfth Falcon film. It has exciting appearances in it of Jane Greer, aged 22 but looking and behaving 32, and Elisha Cook, Junior. This is apparently the only film in which Jane Greer plays a singer, and she sings very well. Her song is absolutely extraordinary in that the lyrics feature planned silences and hesitating phrases which drop out of the rhythm, and frankly I have never heard a song pull off such tricks successfully, and the film is worth seeing for the song, not because the melody is any good, but because the song is musically unique as far as I know and would repay close study and analysis by any serious song writer. Elisha Cook gets to do more acting than usual in this film, and he is even scarier than usual, and completely convincing, as always. Jane Greer did not become a noted noir player until the following year, and was still obscure at this stage. Jean Brooks is in this one, but gets very little screen time and her presence is frankly wasted. I guess because she was part of the team, they were inventing a pretext for her to have a fee. We get to see her in a revealing gown with exposed back, which menacing ice maidens don't normally show, but that's about all. Rita Corday is in this one too, and she gets a big part and shines. Vince Barnett is much less annoying as Goldie the sidekick than the atrocious Edward Brophy in the preceding film, though he still gets on one's nerves. The film was well directed by Ray McCarey, who died only two years later at the age of only 44. Believe it or not, I actually knew the man who wrote the story for this film, whose name was Manny Seff. He was a very delightful and amusing guy, a great conversationalist, story teller, and joke cracker, who was getting old when I was very young, and it adds dimension to an old movie when you can say: 'There's Manny Seff's name as the writer!' He is exactly the kind of fellow I had always imagined writing these stories, and there suddenly his name appeared on the screen to prove it. I can't say it was a total surprise, it just seemed so appropriate. Judging from what I know of him, and guess about the others, these people must all have had a lot of fun making these films, which is probably one reason why they are so entertaining.

The Falcon and Goldie get mixed up with stolen jewelry and a series of mysterious murders surrounding the disappearance.

The movie's a brisk, better than average entry in the Falcon series, with a good little mystery, understated humor, and a drop-dead sexy Jane Greer. In fact, where else can you see creepy little noir icon Elisha Cook actually smooching with a gorgeous noir vamp like Greer. Then too, Cook gets an unusually assertive role here that he plays to the hilt. I really like the way his character uses his all-night radio program as a cover. It's a good little glimpse of old time radio. Also, watch for the slatternly Esther Howard (Mrs. Peabody) playing an uptown lady for once, that is, until her final scene. Of course, Conway, Corday, and Barnett are their usual reliable selves in this solid Falcon entry.

One of the later chapters for Tom Conway as "The Falcon"! the usual cast... Elisha Cook was in so many early black and whites and film noirs. Vince Barnett as "Goldie". Jason Robard SENIOR ! is in here as Harvey. and Rita Corday is "Joan". in the usual fashion, the falcon is caught up in the plot, and is found with the missing jewels, and tries to explain to the police why he now has the missing jewels. or are they really the missing pearls ?? The falcon has to prove himself to the po-po yet again. Can he do it in time? and as usual, Cook is "Nick", the wide eyed errand boy, who gets caught in the middle. it's all according to formula, so average marks for this one. entertaining enough, but nothing really new. Directed by Ray McCarey... he had directed Laurel & Hardy, as well as the Three Stooges, so he was a pro for sure ! he was the brother of bigshot Leo McCarey.