Grund zur Aufregung

"Cause for Alarm" isn't a great film but it captures the noir cinematic scene of the postwar period fairly well. Loretta Young's frenetic pursuit through hot suburban California streets to retrieve a dangerous missive is well done. Is anyone really convincing in a story of a WWII pilot working in the insurance industry and detouring into paranoia while stricken with a cardiac condition? Nah, probably not. But the movie is a nice visit back to the fifties.

Early in the film Loretta Young walks out to her driveway and encounters - a celluloid ME. Attired in the exact same garb I wore in '51, a black cowboy outfit with two six(cap)-guns and riding a trusty trike, a not particularly adept child actor passes himself off as the one-and-only Hopalong Cassidy (as we grew older he became "Hopalong Catastrophe" but in the early fifties he was our unsullied hero). This kid even has the same toy I remember treasuring.

All that nostalgia aside, this short film is diverting albeit not the finest example of noir cinema. Loretta Young was as beautiful as she was talented. Barry Sullivan is appropriately nuts and most of the rest of the cast give dependable color to their roles.

This film definitely belongs in any noir retrospective.

There are several things wrong with Cause for Alarm, all of which contribute to a less than satisfying experience. Loretta Young is, to put bluntly, completely unconvincing as the wife of Barry Sullivan. Her attempts at portraying panic and something approaching a nervous breakdown just make her seem weak minded and vague. This is a role that would have suited a noir queen like Ida Lupino who can sustain a level of acting and intensity entirely suitable to this kind of plot. Sullivan, by contrast, gives his usual excellent performance - as far as it can extend given the inadequate script.

Another problem with this film is the storyline. Sullivan's descent into paranoia is too abrupt, too blunt to be really convincing or effective. During the flashback there are hints of a darkness in his soul and a cruelty, one which his future wife Eleen is entirely unaware of. Suddenly we are asked to attribute his mania to an overdose of heart medicine. This inconsistency is illogical, detracting from the menace established by his character in the early scenes.

On the plus side, a noir set in and around the home (and especially the home that isn't that of a policeman, as in say The Big Heat) is a good idea, with a lot of potential. The kitchen or the living room can be just as dangerous and claustrophobic as the mean streets outside. It's a shame that the Jones' home is not made more of as a source of menace. Sullivan's suspicions initially seem promising but he dies too quickly and make his accusations to easily to really satisfy.

The standouts in the cast is Irving Bacon as the pedantic postman. His beautifully fussy performance, a finely honed affair of self importance and wariness, almost make the rest worth sitting through... In short Cause for Alarm is no real cause for celebration. A shame, especially as Garnett also directed the classic The Postman Always Rings Twice.

After picking up a cut-rate DVD box set containing 100 "mystery" films that have lapsed into the public domain I came across this thriller from 1951 about a dutiful housewife who watches her bedridden husband slip into paranoia. Whether the film possesses film noir bona fidas is not the question; the answer is that the film is quite effective at stirring up Hitchcock like thrills for the picture's final reels. The filmmakers even inject a note of ambiguity at the film's conclusion enough to make you wonder if the film's climax could perhaps be viewed from a different perspective.

Like so many films of the era there are several things that do raise humorous eyebrows these days. At the onset Loretta Young is doing "housework"; struggling with an unruly vacuum cleaner while wearing an elegant dress that would be more than appropriate attire for a four star restaurant. It really wasn't that long ago that millions of women would have killed for Young's sedate upper middle class existence as a "housewife." The idea that a doctor would make a house-call (let alone two house-calls in one day) is a humorous artifact of a bygone era. Redgardless of the anachronistic humor, "Cause For Alarm" is a pleasant diversion.

Cause for Alarm! is directed by Tay Garnett and adapted to screenplay by Mel Dinelli and Tom Lewis from a story written by Larry Marcus. It stars Loretta Young, Barry Sullivan and Bruce Cowling. Music is scored by Andre Previn and cinematography by Joseph Ruttenberg.

George Jones is suffering from a heart condition and confined to his bed. An aloof and suspicious man, he assumes his wife and doctor, the latter a good friend, are conspiring to poison him and outlines his suspicion in a letter to the District Atttorney. Getting his wife to pass the letter on to the postman, he gleefully tells his wife what he has done. So when he actually does die, shortly after, wife Ellen panics and sets about retrieving the letter.....

Slight plot but well acted, Cause for Alarm! is an efficient pot boiling thriller. Tagged as a "suburban noir," it's a film that has had an up and down experience in terms of critical appraisal. What we can say now is that it does carry with it a degree of ambiguity, where once back in the day it was seen as a straight forward narrative, with Young's ever increasingly fraught wife trying to correct a wrong she hasn't in fact done; now it's quite possible that her telling of the story (via narration) is "arguably" a hokey smoke screen for a dastardly deed. It's the ambiguity, to me at least, that gives the film watchable value. For without it the film just plays out as a chase and deceive movie, one with a couple of colourful characters inserted in for plot suspense enhancement, and featuring a clumsy character thread about parental yearning.

Production (in 14 days) and cast performances are good. Young engages by exuding genuine sweaty stress, and supporting turns from Margalo Gillmore and Irving Bacon, as annoyingly talkative aunt and postman respectively, leave favourable marks. Direction from multi genre helmer Garnett is nicely on the simmer, while Ruttenberg's photography brings shadows and light to this twitchy part of suburbia. But the ending, if indeed there are no tricks being played, is a thoroughly unsatisfying outcome. There are those who have delved deep in search of meaning and explanations of character motives and reactions, with that the film has an aura of mystery about it. Certainly there are more questions than answers unfolded during the relatively short running time, and that's OK, we like that Sullivan's bile based husband courts no sympathy. However, it may well be that the film was merely just meant to be a suspenseful little ole race against time drama, a tale about a woman who just married a less than honourable man.

It's watchable and the paranoia elements do indeed bring it into the film noir realm, but your enjoyment of it may depend on if you side with the theory that there is more than meets the eyes and ears. Personally I have my doubts, and the thought of having to watch it again is about as appealing as painting Loretta's picket fence on the hottest day of the year. 5/10

This film must be what passed for a 'chick flick' in the 1950's. It helps if you are a Loretta Young fan, and their are many of us. She is ably supported by Barry Sullivan and by the capable direction of Tay Garnett. Maybe 'tense drama' would be a better way to describe this picture as it barely falls under the heading of Film Noir - no violent confrontations, no dark, wet back alleys here, just sustained suspense, especially in the second half of the film. Miss Young is in almost every scene and the production seems almost stage-bound as it takes place mostly in the home of Young and Sullivan, with a few exterior shots thrown in.

Still, Miss Young gives a good performance and the movie holds the interest throughout, and is very worth watching.