El precio de una ilusión

Doris Merrick lives at home and has a job at a defense plant. She wants more, and falls for Robert Lowery. He looks like a big roller at a local club and she falls hard. When he disappears, she goes out with trumpeter Eddie Quillan who tries to impress her. They wind up in jail. Her father bails her out, gives her a suitcase with her clothes and tells her not to come back. She goes to work at the club, and various hard-up relatives come by for money -- she has a lot of crumpled-up $5 bills.

It's a cheap, tawdry Monogram picture, but director Christy Cabanne makes that work in this story of the downfall of a girl, who wanted more and settled for cash. I've been looking at a lot of Japanese movies set in the same, tawdry world, shomin-gekki about poor people in a tough world, and it fits right into that sort of genre. The difference is that in Japan, it was an A genre, with major stars; in the US, with minor actors and actresses, it's set in a world where the big movies are all film noir. Here, it's a cheap and tawdry genre with the directors fallen from once-haughty levels.... and it all works.

In 1933 Monogram made an excellent film called "Sensation Hunters," a beautiful proto-noir with vivid direction by Charles Vidor (13 years before he made a major noir, "Gilda") and an overall atmosphere of gloom and doom. Too bad that when they made this one all they took from the original "Sensation Hunters" was the title (and even that got changed later for TV purposes to "Club Paradise"). It's one of those movies in which the put-upon heroine has to choose between two boyfriends, one of whom is annoying and the other is crooked. The script reads like the writers were on cliché autopilot and the actors (except for Isabel Jewell, who's marvelous in her usual characterization as a hard-bitten woman of the world) seem to be saying their lines, hitting their marks and little more. The ending doesn't work because nothing we've seen in the film before seems to be leading up to it. The reviewers who compared it to Edgar G. Ulmer's magnificent "Detour" seem totally off base to me. The guy who said it would have been a good vehicle for Tyrone Power is closer in that Power actually DID make this movie -- or something close to it -- in 1939: it was called "Rose of Washington Square" and that wasn't a great movie but it was at least entertaining and had some depth missing from this one.

Unpredictable little character drama from Monogram. Doris (Merrick) is an innocent young woman from a mean-spirited family, so we begin by rooting for her and her situation. Looking to get away from family, she meets handsome Danny (Lowery). He's an apparent rover with a mysterious past and no apparent job. Trouble is she's beguiled by him even though he comes and goes like the wind. So she takes a job at a shady nightclub he frequents hoping he'll return. Meanwhile, she puts off her old bandleader boyfriend Ray (Quillan), and the more rooted life he offers. Thus, what will happen to her now that she's entered a new, darker world with unknown connections.

The story's told in flashback from an abruptly mysterious opening, while the ending is also abrupt casting a cloud over the conventional happy ending. A distinctive difference in the narrative is the threads we're left to fill in-- such as the relationship between shady Lou (Paiva) and Danny, or even how Danny supports himself. I think this realistic murk tells much of the story from Doris's limited pov rather than sloppy scripting or editing.

Actress Merrick's excellent in her sympathetic role without getting sappy, while Lowery certainly looks the slickster part even if he more or less walks through his role. I did, however, get the several blondes mixed up at times. And get a load of the 40's fashions with their gunboat hats. Still, I wish the nightclub dancing had included some lively jitterbug instead of the stately ballroom stuff. Note too, that no mention is made of the war even though its 1945 and no servicemen are seen among the eligible guys.

Anyway, in my little book, the 60-minute flick is almost a sleeper with a number of unusual touches. And, oh yes, if you're invited to Doris's bilious family for dinner, Don't Go!

For being a B-feature, this is actually a very clever and sophisticated noir, although it deals entirely with the night club rabble. Julie has a terrible family with a cruel unnatural bully for a father and a brother who drinks, so naturally she isn't very happy there. Her boy-friend plays the trumpet and has some great expectations but gets mixed up with racketeers and loses all his money on dice, which joint gets rounded up by the police, and he is put in prison for 30 days. Her father throws her out, seeing she has hit the downhill road to perdition. She still makes the best of it as a dancer and singer but is seduced by a good-for-nothing who occasionally leaves town to get away from his creditors, who are not funny. Her boy-friend with the trumpet eventually turns up again with a band and is a success, she has an opportunity here, but that other guy spoils it. It's a bleak noir of no hope, and when the curtain falls you know it's the end of the show. There are similarities and styles recalling the hand of Ulmer, but this is no Ulmer film. The "Club Havana" by him of the same year was also a noir with revolver shots but so much more efficient all filmed in five days and depicting life of one night, while this is more drawn out, the time period is extensive, there is actually no end to this dwindling spiral of bad turns, while Doris Merrick, like a lower class Joan Fontaine, makes an indefatigable good impression and always tries to make good, which in the end was of no avail.

"Sensation Hunters" (also called "Club Paradise") is a tough movie to love. It's not just that it's a cheap B-movie but the characters are difficult to like or care about in any way. So, while you might understand Julie (Doris Merrick) and her actions, you don't like her or care about the mess she makes of her life. And, as for her family and associates, they're most reprehensible jerks! Not exactly the makings for an entertaining movie.

When the film begins, you see that Julie lives in a family made up of scum. Her mother isn't 100% awful but she's weak and ineffectual. As for her father and brother-in-law...pure scum. So it's not surprising that Julie would want to get out of this home and get a man of her own. But Ray (Eddie Quillan) is a bit of a wimp and although she's been going out with him for some time, she doesn't love or even seem to respect him. Oddly, when an obvious jerk blows into town, Julie is taken with Danny (Robert Lowry). He makes no bones about it...he's been with LOTS of women and has no desire to become tied down with anyone....and yet Julie is stuck on him immediately. He's given her no reason to hope that he's the right man for her or anyone...but she is just crazy about the guy and is a real enabler. Sadly, while NOT entertaining, this sort of situation is rather realistic as often girls from abusive homes often seem to glomp onto losers like Danny. I saw this time and time again when I worked as a social worker and therapist. And, if the film is going to be realistic, her life will be miserable as a result of her poor choice in boyfriends. So what does become of Julie?! Does she somehow make something of herself or make some smart choices?

While the film has MANY strikes against it other than the characters (such as the women who sing in the film...none of them are particularly good), it fortunately does not tack on some nice, sappy ending. The film begins miserable and ends miserable. This makes for lousy entertainment BUT at least is a nice nod to realism. In some ways the film has a real noir sense to it. Too bad that the bad really outweighs the good.