La bestia del crimen

Some important names were getting good exposure for their talents in When Strangers Marry. In front of the camera were Kim Hunter and Robert Mitchum. And behind are director William Castle later famous for horror pictures and Dimitri Tiomkin whose music scores were usually in films with far bigger budgets and vistas than When Strangers Marry.

Young Kim Hunter arrives in New York where she's on impulse married salesman Dean Jagger on short acquaintance. He's been delayed in Philadelphia and tells her to go to his flat and set up housekeeping. A helpful friend in Robert Mitchum proves even more helpful when Jagger is delayed for quite some time.

Good reason he has been delayed. The opening shows the homicide of a drunk and flannel mouth Dick Elliott who was bragging about the $10,000.00 he had even dropping large bills on the barroom floor. The next thing we see is the hotel maid finding the body and the cops Philly have a lead the suspect has gone to New York.

Where Neil Hamilton of the NYPD takes over and Jagger looks good for it to a disbelieving Hunter.

Not the greatest of noir films. But When Strangers Marry gave Robert Mitchum his first taste of a genre where at RKO he would get some really great roles and become a mega-star. Hunter and Jagger do well in their parts.

For a look at some movie legends developing I would give When Strangers Marry a viewing.

Check out that unsettling scene in the lonely police waiting room. Little guy Houser (Lubin) sits on one side and vulnerable newly-wed Millie (Hunter) sits on the other with a big empty space between. It's a great visual metaphor for the danger facing our young stranger in the city. A hostile world appears on one side and poor Millie all alone on the other. Even little things work against her in the big, impersonal surroundings—the unhelpful news guy, streetlights suddenly going out. Then too, those spare sets from budget-minded Monogram fairly echo with undefined menace.

From such atmospheric touches, it's not hard to detect the influence of Val Lewton's horror classic The Seventh Victim (1943). At the same time, the movie's director William Castle was a moving force behind the brilliantly unconventional Whistler series from Columbia studios. So the many imaginative touches here, like the lunging lion's head that opens the film, should come as no surprise.

Despite the overall suspense, I had trouble following plot convolutions—who was where, when, and why. But then the screenplay did have four writers, which is seldom an asset. Still, the mysterious husband (Jagger) and Millie's suspicions does generate core interest. In my little book, the main appeal is in the players and the atmosphere, such as the winsome young Hunter, a virile young Mitchum, and the jazzy Harlem nightclub. All in all, the sixty-minutes remains a clever little surprise from poverty row Monogram.

This is a Hitchcockian film that reflects well the Film Noir period of Hollywood. Suspense is high, and the audience is kept guessing right to the end about who might be the killer of the drunk good-time Charlie, who innocently invited a stranger in a bar in New York to stay in his apartment for the evening. Don't be fooled by the original name, though.

It is being aired on the premium classics channels under the a.k.a. name "Betrayed".

William Castle's first noteworthy effort (incidentally, the copy I acquired bore a new title - BETRAYED!) was made at Poverty Row studio Monogram within a genre he would intermittently return to until the genial director saw he could particularly make a mint with Horror. It is a noir with a distinct Hitchcock feel: in fact, the plot bears obvious nods to both SUSPICION (1941) and SHADOW OF A DOUBT (1943), a murder attempt is borrowed wholesale from FOREIGN CORRSPONDENT (1940), and there is even Castle's own 'appearance' (which is actually treated as a recurring in-joke here!).

It was an equally important film for Robert Mitchum, not only because it showed that his star was definitely rising but in view of the fact that the ultimate revelation as to his character's true nature would be reworked in some of his later (and most impressive) work. Curiously enough, I was under the impression that he would be the suspected murderer husband – but the way things played out, I must congratulate the scriptwriters (including Philip Yordan) on their ingenuity. Leading lady Kim Hunter (ideally cast as the fresh-faced bride) had just come off the Val Lewton production THE SEVENTH VICTIM (1943), while Dean Jagger has an atypical lead role (it is even more unusual to see him sporting a full head of hair!) – their awkwardness is never more effectively delineated than when they find themselves stranded inside a Harlem nightclub (showcasing an over-enthusiastic black dancer). Also on hand is Neil Hamilton (later Commissioner Gordon in the campy but popular BATMAN TV series of the 1960s) already in his element as a Police Inspector; incidentally, his ambivalent relationship with Mitchum throughout pays off in droves during the frenzied climax.

Despite the evident economy of means, the film still displays considerable style along the way (atmospheric chiaroscuro lighting, effective low-angle shooting, an imaginative hallucination sequence, etc.); the role-reversal in the opening and closing scenes is a nice touch, too. For the record, I own several more of Castle's (by all accounts, lesser) noirs but I probably will not have time to fit any of them in my current schedule...

When Strangers Marry (AKA: Betrayed) is directed by William Castle and written by Philip Yordan and Dennis J. Cooper. It stars Dean Jagger, Kim Hunter, Robert Mitchum and Neil Hamilton. Music is by Dimitri Tiomkin and cinematography by Ira H. Morgan.

A compact William Castle noir that finds Hunter marrying a man she barely knows (Jagger), only to find he may be a murderer. Robert Mitchum is on hand for help and advice…

Well put together by Castle who keeps things brisk and simple whilst keeping the mystery element high, that in turn does justice to the decent script. There's plenty of noir touches, from expressionistic photography and up-tilts, to cool montages and feverish scenes. Some odd characters add to the psychological discord, while Tiomkin blends jazzy dance strains with "he's behind you" type rumbles.

Cast performances are more solid than anything spectacular, but Mitchum serves very early notice of what a presence and icon he was to become. Some sequences look cheap, which for a Monogram cheapie is to be expected, and this type of pic has been done far better by others, notably Hitchcock and Lewton, both of whom Castle doffs his cap towards. But this never outstays its welcome and there's plenty here for the noir lover to get hooked on. 7/10