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Just the title alone should tell you that you won't see anything like a Sonja Henie movie. Great Britain's answer to Henie, Belita stars in this noir thriller about the star skater caught between two men.

Peanut vendor Barry Sullivan has some ideas that catch the attention of ice show owner Albert Dekker and he promotes him to the show management. Sullivan also gets ideas about Belita as he rises the ladder of success.

For a Monogram Picture this one looks like a few bucks were spent on it. The ice sequences match anything in a Sonja Henie movie.

Bonita Granville has a real adult role and acts real adult. The juvenile tattletale in These Three and the screen's Nancy Drew, Granville plays the scorned other woman in Sullivan's life and does well.

Suspense was Eugene Pallette's farewell performance. Mr. Pallette retired after this film and went to live in the wild country in Oregon's more rural area. He was a man of strong rightwing convictions and was sure that we could expect atomic war from the Russians. I wonder if when he died in 1954 he was disappointed.

For a Monogram film this noir is not a bad one with an unusual setting.

When a young Olympic figure skater decides to take up acting, it had to be with some skating sequences. While these were somewhat entertaining, they make the film about ten minutes longer. Since the title is "Suspense," this detracts a bit. Still it has many noir qualities with the taciturn Barry Sullivan pretty much running things. it is a romantic triangle where the third is one too many. Actually, a fourth comes into playas well. Joe, Sullivan's character, has significant baggage. Would this have brought him down eventually? Anyway, it was some fun with reasonable good acting by most of the figures.

1946's "Suspense" was another step toward respectability for Poverty Row's Monogram Pictures, soon upgrading its higher budgeted films with the new Allied Artists emblem. Moving up the Hollywood ladder (his eighth feature), Barry Sullivan is well suited for the part of sleazeball Joe Morgan, who lucks into a managerial position for an ice show run by Frank Leonard (Albert Dekker), starring Leonard's beautiful wife Roberta (top billed Belita). Morgan immediately takes an interest in Mrs. Leonard, and when her husband finds out, tries to shoot his rival in the snow covered mountains of the High Sierras, resulting in an avalanche that seemingly buries Mr. Leonard. Although seemingly widowed, Roberta is reluctant to continue the ice show, convinced that Frank may not have died after all (only his cap and gun were found in the snow). Belita, whose career was unfortunately brief, proves herself a capable actress, and would again co-star opposite Barry Sullivan in a similar title, "The Gangster." Eugene Palette completed a Western for Republic ("In Old Sacramento") before retiring from Hollywood, while former Nancy Drew Bonita Granville threw in the towel after six more films, confining herself to television thereafter, going on to produce the popular LASSIE series ('Bonita' is Spanish for 'beautiful'). Other familiar faces abound- George E. Stone, Leon Belasco, Nestor Paiva, George Chandler, Byron Foulger, and 7 year old Billy Gray ("The Day the Earth Stood Still," FATHER KNOWS BEST), in one of his earliest roles. Definitely a noir, occasionally slowed by its numerous (if well done) skating scenes and romantic entanglements, a curious non horror title to appear four times on Pittsburgh's Chiller Theater: Mar 14 1970 (followed by 1969's "It's Alive!"), May 8 1971 (followed by 1967's "Those Fantastic Flying Fools"), Apr 22 1972 (preceded by 1965's "The Eye Creatures"), and May 18 1974 (followed by 1965's "Night Caller from Outer Space").

My God, Bosley Crowther's an idiot. The one thing in this good noir from scenarist Phil Yordan and director Frank Tuttle that the former New York Times critic liked, namely the ice skating stuff, is the one thing in the film that is truly ordinary. Everything else is either better than expected (i.e. Belita's acting) or fairly compelling (i.e. Barry Sullivan and Eugene Palette's performances). And while the film did not, ironically, contain much suspense it had plentiful supplies of darkness and disturbance courtesy of Yordan's terse dialogue and Tuttle's three AM of the soul direction. Indeed, the general Woolrichian look and feel of the film has caused me to want to view more of this unknown director's work (only film of his that I can recall viewing is "This Gun For Hire" with Ladd/Lake, which I also liked). Give it a B.

PS...Wonder why Barry Sullivan never made it (in movies, that is) while less talented contemporaries with the same look, like Stack, Mature and Wilde, did?

Super-aggressive Joe Morgan tries to take over impresario Frank Leonard's ice show and his girl, for good measure, resulting in some strange consequences.

With all the interest in 40's noir, I'm not sure why this genuinely exotic little number is too often overlooked. Maybe it's because its pedigree is not the best, (cheap-jack Monogram), or because its cast is non-movie star, (Sullivan, Belita, Dekker), or the fact that it doesn't turn up on cable (to my knowledge). Nonetheless, in my book it's one of the best examples around of the lost art of b&w cinematography.

Consider, for example, what Belita's surreal, death-defying skating number would look like in color, or that distance shot of the noirish mountain bowl where Frank stalks his prey, or the big neon panel blinking through the fog. In fact, consider the values that would be lost if the entire film were in color. I think one reason many of us return to 40's noir is because of those dream-like shadings,(among other values), that simply can't be duplicated in reds and greens, etc. Then too, these b&w shadings are a perfect complement to the ambiguities pervading the best noir.

But it's not only the photography in this movie, it's also the art direction (Paul Sylos) and the set decoration (George Hopkins). Thanks to them, the spooky ice rink plus the cavernous apartment and lodge interiors achieve real visual distinction with their attention to artistic detail. And even after multiple viewings, I haven't figured out how they did that eerie mountain bowl with its rink at the bottom. That tableau remains unlike anything I've seen in film. All in all, these elements add up, in my book, to a superior slice of visual exotica from noir's golden age.

To me, the most notable part of the story itself is how basically unsympathetic Joe (Sullivan) is with his overweening aggressiveness as he cuts in on everything Frank (Dekker) owns or values. At the same time, I don't buy the climax that looks like some version of the Hollywood Code in action, even if only in diluted form. Nonetheless, it's a great cast from the gimlet-eyed Sullivan (he doesn't look like anyone else in movies) to the commanding Dekker to the froggishly likable Palette. And must not forget Belita's eye-catching wardrobe or the deglamorized Granville getting jilted every five-minutes. And please tell me when ace screen-writer Yordan ever drew a breath away from the typewriter since his name pops up on just about everything from this period.

Anyhow, in my book, the movie remains a real sleeper and visual treat, and TMC would do well to slip it somewhere into their evening schedule.