The Thirteenth Hour

Truck-firm owner Steve Reynolds (Richard Dix) gets involved in a feud with a rival firm, and shortly thereafter is slugged by a masked assailant who steals the truck he is driving. The assailant runs down a policeman in the truck and leaves other clues pointing to Reynolds as the cop killer.

With only a glove, with diamonds stuck in the thumb, as a clue, and while evading the police and other characters after him and the diamonds, Reynolds, with the help of his fiancée and her son, finally runs down the guilty party and clears himself.

Richard Dix stars in this seventh instalment of the Whistler series and, sadly, it's his final film. Always a likeable presence, Dix does a great job as always and bolsters this standard thriller somewhat. Not the best Whistler, but enjoyable enough, if a little convoluted.

This is the seventh Whistler film and the last one to star Richard Dix. (There would be one more Whistler film the next year with another lead actor: THE RETURN OF THE WHISTLER, see my review). This film as directed by William Clemens, who had directed several of the Falcon films, a Philo Vance film, and several of the original Nancy Drew films with Bonita Granville. This time Dix plays a trucker who has worked hard to start up his own trucking business but made enemies amongst the established truckers, some of whom are dangerous. Dix is involved with a woman named Eileen who owns a truck stop café, played by Karen Morley. She has an engaging teenage son played by Mark Dennis who has a considerable role in the film. (He was 14 at this time and had appeared in one film the year before; he is very good.) A lot of this film was shot at night on dark roads and it thus has considerable atmosphere. The story is not particularly odd or unusual, and it does not take place in a city like most Whistler films. Basically, this is a drama about setups, murders, betrayals, greed, and innocent victims. Dix is an innocent victim. There is no explanation within the film of the title, as there is no "thirteenth hour" in the story. So someone just thought up a catchy title. The story gets very tense and involved, as Dix is accused of murder after murder, none of which he has committed. And there is an interesting twist of a clue which seems to indicate that the murderer was missing a finger on his left hand. But to say more would be to say too much. This is a good noir. And it is sad to take one's leave of the amazing Richard Dix, who in seven Whistler films played characters so far apart it is astonishing that he could so easily do so. He was a most engaging and fascinating actor. He suffered a heart attack during the filming and died in 1949 of his heart condition. This was his last film appearance. He was only 56 years old, and his early death was a great loss to the screen.

The penultimate entry in Columbia's Whistler series and the last to star Richard Dix. This final Dix Whistler movie isn't one of the best but it's still worth a look. The story is fairly straightforward with Dix playing more of a typical protagonist than in other entries where he played more morally ambiguous characters. This time he's a truck driver out to clear his name when he's framed for killing a policeman.

Karen Morley is good as Dix's girlfriend. Regis Toomey plays a small but important part as the cop Dix is accused of killing. Mark Dennis is unintentionally funny as Morley's son, who reads books on necrophobia and warns cops "That's mama's and my bedroom. We don't like anybody going in there." John Kellogg, Jim Bannon, and Bernadene Hayes round out the significant roles in the cast. For his part, Dix is solid as usual.

As I said, this is the last Whistler movie that Dix made, but it's also his last film period. He retired after this and died two years later. With a career stretching back over twenty years into the silents, he's probably best remembered for his Oscar-nominated role in Cimarron or for playing the crazy captain in Val Lewton's The Ghost Ship. Lantern-jawed with a somewhat stiff line delivery, Dix may not have challenged Gable or Grant or Flynn in charisma or sex appeal but he had an interesting screen presence all his own. He certainly made his mark in the films I mentioned, as well as many others including this fine series based off the popular radio series The Whistler. His last film may not have been an example of "going out on top," but it was definitely nothing to be embarrassed about. Which is, unfortunately, more than you can say for some of his contemporaries' final films.

I'm not a fan of Richard Dix. Here he is in The Thirteenth Hour, from 1947, the seventh Whistler story.

I would love to know what the Whistler does to help these people. I wasn't aware of him doing anything but narration. What a gimmick. And he had a radio and film career. Otto Fortest is the uncredited Whistler.

This is Dix's last film as he suffered a heart attack during filming. He died in 1949.

Steve Reynolds (Dix) owns a trucking company, which he refused to sell to a rival who plays rough.

Steve picks up a hitchhiker and winds up framed for a cop killing, plus his truck is stolen. He only has a glove with diamonds stuck in the thumb as clues.

He has to clear himself since evidently this Whistler doesn't do anything. The Shadow at least intimidates people.

Dix started in silents. He had 123 credits when he died at the age of 56. He was nominated for an Oscar for the film Cimarron.

Not a favorite, but obviously a hard worker who died young.

Richard Dix is lorry driver "Reynolds" who is going about his business when he gets slugged by an unknown assailant whilst out on a job. He and his truck are taken, but they are pursued by a motor-cycle cop. When they stop, the driver allows the truck to roll backwards squashing the cop under it's wheels, then he absconds leaving "Reynolds" with only a glove to help him track down the true criminals before he falls victim to them - or to the police... Williams Clemens keep the film moving along swiftly. No, there is nothing much new here and there is little, if any, jeopardy about the conclusion but we remain in ignorance about the identity of the baddies for a fair while, and the cat and mouse elements are enjoyable enough for an hour.