Venetian Bird

(Flash Review)

An American detective come to Venice, Italy to track down a man. Early rumblings point to him being dead but the detective isn't buying it. There is a damsel in the mix who has a lot of information but doesn't know everything herself. This is one of those plots where the closer the detective gets to the truth the more intertwined he gets in the chaos. There are lots it Italian names and people to keep track of. The story clips along while being submerged in classic Venice streets. There are a handful of clever dialog zingers. A fun little Noir in an Italian setting.

A private detective is sent to Italy by an insurance company to locate a man so that he may be rewarded for his gallantry during WWII. However, soon it becomes obvious that this is all a ruse and they want to find the man for ulterior motives. Yet, despite this and a group of killers who want to stop him, the handsome detective (Richard Todd) doggedly continues his investigation in the town of Venice. Will he find what he's looking for...and, does the audience really care?

It's odd, but for a mystery/suspense film, "The Assassin" is amazingly unexciting. Most of the problem is that the film is so very talky. Again and again, instead of SHOWING the plot unfold, the film relies on HEARING people talking about it--a very static way to do such a film. The other problem is that although Richard Todd is a suave and handsome guy, he just seemed to sophisticated and nice for such a role. It played very much like if Dirk Bogarde or Cary Grant had played the part--all good actors but all too smooth and 'nice'. Overall, it's not a terrible film but it sure could have been a lot better.

Richard Todd stars in "The Assassin" with Eva Bartok and George Coulouris, from 1952, shot in Venice.

Todd plays Edward Mercer, who comes to Venice on behalf of an insurance company, looking for a man named Uccello who has a reward coming for the rescue of an Allied airman during the war. Unfortunately for Mercer, the first person he's supposed to see is dead. Then he meets Adrianna (Bartok), who knew Uccello, and he is told that Uccello is dead. After a while, though, he begins to think that's not the case.

The director, Ralph Thomas, borrowed a good deal from Hitchcock in this film and did some effective things, particularly at the end, which is marvelous. He also used Venice and its surroundings very well to create an excellent atmosphere. If only the script had been less talky and the plot better, you might really have something here.

Bartok is mysterious, Richard Todd is very serious and quite handsome, and Venice is beautiful, even in black and white. Well worth seeing for that.

Many of these detective series had to be formulaic. That is the nature of a series. So if you want to differentiate, one strategy is to introduce exotic locations. When this was made, that was still rare. The location has to be highlighted in the name, so we have Charlie Chan, the Saint, the Falcon and so in such and such a city.

The place here is Venice. Unfortunately it is not captured well. For some reason, the texture of the city escapes the usual camera. (I did like the color you got in the Clooney "The Job" and the Bond "XXX").

So the setting is largely wasted by the clumsy camera, except for a visit to a Murano glassworks. The glass factories are located on an island near the city because of the ancient fear of fire. These for hundreds of years have been a wonder of the world, once secret, now a bit tired. When this film was made, Chihuly had not yet brought Murano to our attention and the polluting effect of tourism had not occluded its magic.

It is only a few minutes in this otherwise ordinary adventure. And it is just background motion. But you might as I, hold it a dear experience to just see.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

The Assassin (1952)

What distinguishes this movie is the setting--Venice, in the 1950s. There are some other famous movies set in this town in this time (the moody 1955 "Summertime"), and somehow this one feels the most authentic, not romanticized to pieces but still an appreciative take on it.

Of course, you'd rather have your movie succeed because of its plot and acting, and this one isn't bad--I'd watch it if you like this kind of low budget black and white Euro-noir. (This is a British B-movie.)

As much as murder, and the machinations of post-war Italy, are the backdrop, this is a very talky movie, to the point of being both redundant and at times confusing. It's dramatic in its progression of mysteries, and in the many night or dark interior scenes, barely lit. It's dripping in art history throughout, both as backdrop and as a growing part of the theme (one of the main mysterious characters is an artist) and this is terrific.

Because the plot is one conversation after another, all rather undramatic in its delivery, it depends on its actors rather a lot, and the leading man (Richard Todd) in particular is serious but straining the whole way. The story and screenplay are by Victor Channing, who was a best selling British author in his day, and it feels like best seller stuff, thinly conceived. There are bit actors doing their best, and there is an authenticity implied by all of the settings and period sets fairly contemporary to the filming. But the deadened script undermines a visually emphatic movie. Watch with some patience left over.

Or watch for Venice. There really is a lot in store in this aspect (though some of the interiors were apparently shot in Veneto, which is the province nearby. Toward the end is a large procession on the grand canal, pretty neat if you like that kind of thing. As the assassin, an artist at heart, says as he is ready to commit his crime, "I should have a pencil, not a gun." And you know, the last five minutes is amazing filming (and sound!), with Hitchcockian overtones, worth seeing no matter what you think of the rest of it.