Der Mann im Dunkel

Edmond O'Brien played in quite a few film noir pictures. And, interestingly, they all seem to be excellent...even "Man in the Dark" which you would expect to be a bad picture even WITH O'Brien. Why? Because the film was cranked out in only 11 days AND because there were a lot of cheap 3D tricks in the picture...yet it still turned out to be very, very good. So why would the studio do this in 11 days? Apparently, 3D movies were brand new and they wanted to be the first major studio to make a 3D picture....yet, amazingly, the film doesn't seem rushed or second-rate!

When the story begins, a prisoner (O'Brien) is about to undergo some surgery. When he awakens, he has no memory of who he was and is christened 'Steve Rawley' by the doctors. Unfortunately, his old gang doesn't know about the purpose of the surgery--they just know they've got to kidnap him and tell them where he stashed the loot from a robbery. But he really does NOT know where it is nor who he was. His only clues are strange dreams he's been having. Could they point him to the right direction before the gang decides just to kill him and be done with it?

As usual, Edmond O'Brien is great. He's tough, mouthy and just the sort of ugly mug you'd expect in a noir picture. And, having Audrey Totter and Ted de Corsia in supporting roles sure didn't hurt! Overall, a nice viewing experience...even with all the 3D gimmicks and use of rear projection towards the end (which I normally hate because it looks so fake).

After reading some negative reviews of this film, I expected it to be a pretty stale B-movie about gangsters and stolen dough. However, I found this to be a pretty entertaining B-movie with some humorous 3-D effects, and some wonderful footage of an amusement park circa 1953.

The script for this film, is indeed pretty routine with the typical gangster stereotypes seen in most films of the period. Edmund O'Brien gives a very good performance, however. There are also a few other familiar character actors in the film, which make for interesting viewing.

The 3-D gimmicks utilized throughout (scalpels, cigars, guns, a flower pot, roller coaster) are fun to spot, and good for a laugh. The greatest asset this film has though, is it's use of location filming. There is an interesting chase across some rooftops which works very well, but best of all are the amusement park scenes, including a roller coaster ride, and some really nice close-ups of the Fun House Laughing Sal figure. If for no other reason, see the film for her presence.

Here's an example of a routine thriller that could have been so much better if the script hadn't been so banal. Unfortunately, nothing really riveting happens until the last twenty minutes when the amnesiac victim enters an amusement park with some startling results.

It's the final chase scene that make the film come to life, but by that time (and even though the running time is brief), many a viewer will be turned off by the pedestrian script and the average performances.

Even old pros like Edmond O'Brien and Audrey Totter look as though they know the script is the problem. Totter, minus her usually scrappy dialog has a colorless role. She plays it straight but makes almost no impression as the woman who wants her boyfriend to amend his old ways after he finds the missing loot that the villains are chasing him for.

It was originally intended to be shown in 3D, and this is obvious from some of the gimmicky B&W photography for the carnival scene. Still, the low-budget aspect of the whole thing is apparent from the start and the final impression is of a quickie B-film unworthy of O'Brien and Totter.

Ted De Corsia has his usual tough guy role as the punk who likes to slam O'Brien around but even he is handicapped by the hackneyed tough guy dialog. Lew Landers directs the story without any distinction until the final scenes at the amusement park.

Growing up in L.A. always meant a fun trip to Pacific Ocean Park near Venice and riding the "Sea Serpent" roller coaster--and taking a whirl on the "Laff In The Dark" dark ride (while getting creeped-out by the caged "Laffing Sal" in her polka dotted dress who cackled at you from behind bars). "Man In The Dark" takes us back to 1953, and a pre-POP era, when amusement parks were generally seedy and frightening, especially Ocean Park as it was known then (POP came about after Disneyland was built in 1955, and gussied-up by CBS who had purchased it and turned it into a family-oriented theme park-by-the-sea). The "Sea Serpent"--which was "modified for family riding" by CBS in 1957-58 for the new POP, was originally known as the "High Boy"... a John Miller out-and-back masterpiece built circa 1927. This ride was a true thriller...and can be seen to full advantage in this rarely screened noir drama. Laffing Sal was there too, perched above a fun house back then, and she steals the show in many scenes shot to take full advantage of the 3-D process. Since I had experienced both parks back in the '50's through its last season in 1968 before it was torn down, I really wanted to see this movie. I wasn't disappointed. Although not up to the standards of "D.O.A." by a longshot, the movie holds one's interest from the get-go, further capturing the sleeziness old L.A. of the '50's as a place you didn't want to go to if you were trying to stay out of trouble...or if you were on the lam. Edmond O'Brien holds is own, but the other characters do seem a trifle cartoonish to be truly believable. Audrey Totter comes off a little too harsh (even for her) to be considered an attractive prize. The interior shots come off as being filmed a little too flat, but once the film goes on location to the run-down areas around Ocean Park (a real slum at the time), and the park itself, the noir experience kicks-in...Big Time! You can't really call this film a "B-Noir Classic" because its almost impossible to find today...not in the league of "Gun Crazy" (shot at Ocean Park too!) or "D.O.A" or a host of others... but Google it...and you'll find it! Then judge it for yourself.

Edmond O'Brien has a severe case of retrograde amnesia, but he didn't contract it in the Pacific. He's a robber who got away with $130,000 in a Christmas Eve heist, was convicted and served his time. But he'll get a second chance if he submits to an operation to excise the criminal portion of his brain. Understandably, he's conflicted, and when they move it up from the scheduled day he balks: `I was born on a Monday. I may as well go on one – like dirty laundry.' But the operation proves a stunning success, so delicate that it erases all memories of his past life but leaves him with a perfect command of American slang.

But the placid life he leads at the sanitarium – pruning hedges and daubing canvases – comes to an abrupt halt when he's kidnaped by his old gang, now led by Ted De Corsia. They want the money, which was never recovered; so does an implacable Javert of an insurance investigator. Even his old girlfriend (Audrey Totter) sees him only as a ticket to the high life, until she falls for the new, improved O'Brien and renounces her grasping ways. (The often ill-used Totter shines here, especially on a martini bender when she asks the bartender, `Oh, Fred, what do you do when you hate yourself?')

Odd clues begin to surface from O'Brien's troubled nightmares, however, leading him and Totter (with the rest of the cast plus the police in pursuit) to claim a parcel left at an amusement park. And this is the big set-piece of the movie, originally released in 3-D. Cars come whooshing around the curves and down the dips of a roller coaster while pitched battles are being fought on the tracks. Watching these 3-D movies now is like drinking soda that's gone flat: All the ingredients are there but the sparkle's gone. But in their endearingly gimmicky way, they evoke their era, as do the flats equipped with party lines and furnished with lampshades bearing reproductions of paintings. Man in the Dark's too short, and needs an extra layer of complexity. But there's still a bit of fizz left in it.