The Lone Wolf in Paris

Melvin Douglas starred in Columbia's 1935 remake of the 1926 silent "The Lone Wolf Returns," while Francis Lederer takes on the role in this isolated followup from 1938. The series proper begins with the next entry, "The Lone Wolf Spy Hunt" (1939), which starred Warren William in the first of his nine films that continued through 1943 (the character featured in six silent features and three early talkies before the Douglas remake). Obviously the inspiration for the Saint and the Falcon, The Lone Wolf was a reformed jewel thief with an eye for the ladies, and in "Paris," they don't get much prettier than Frances Drake ("Mad Love", "The Invisible Ray"), cast as a princess in distress. The dependable Walter Kingsford and a young Albert Dekker (billed as Albert Van Dekker) are among the villains but they don't come off as being a very dangerous bunch hence the middling grade, though Lederer is perfectly acceptable if one can excuse the accent (which made him an intriguing choice for the title role in "The Return of Dracula" in 1958.) In this film and the previous entry with Douglas, The Lone Wolf's valet is named Jenkins but beginning with Warren William's debut film the character was dubbed Jamison and thereafter played in all but one film by Eric Blore. The Wolf's given name is Michael Lanyard but Lederer's first name is spelled Michel. This is one of the five entries from 1935 to 1949 that has yet to be shown on Turner Classic Movies so that may explain why there have been no prior comments. Hardly an essential entry but worth a look for the curious.

In "The Lone Wolf in Paris", Michael Lanyard is played by Francis Lederer. He was fine in the role, though quite a bit different from Warren Williams' version of the character....not better, not worse...just different.

The story, naturally, begins in Paris. He comes to know a princess in the most unusual way....she's inside a trunk that is delivered to his room! She soon pulls out a gun and is about to make her escape with some jewels when Lanyard overpowers her....and quickly looks over the jewels and pronounces them to be fakes! No harm done, the woman leaves. Later, when Lanyard goes to dinner, he meets the princess and ingratiates himself to her. He wants to know what's happening....and she confides in him that three scoundrels from her country have three crown jewels. It seems the queen used them as collateral for a loan....and when she tried to pay them back, they refused her money. It seems that they want to embarrass the royalty and somehow make themselves leader of this fictional nation. Naturally, Lanyard agrees to steal the jewels and return them to the princess because, apparently, he loves the idea of rule by a small, highly inbred hereditary ruler.

So is this any good? Yes....very good for a B-mystery. The pacing is nice, Lederer is nice as the suave reformed criminal and the story ends wonderfully...at least for the royal family.

Princess in Trouble Calls Reformed Jewel Thief Michael Lanyard to Help Her Fight Malicious Opposition. But. I'm sorry to be able to tell my father that, your film is too short, just for a long film.

I quite enjoyed Francis Lederer's interpretation of our reformed "Lanyard" here. He arrives in Paris only to find his luxury hotel a bit reticent to accommodate him! It doesn't help that he has more wanted posters on him than Billy the Kid! Anyway, some endorsements from the great and the good of European policing get him in, and straight into a blackmailing mess that could effect the future king of 'Arvonne". It seems the Queen (Ruth Robinson) effectively pawned the crown jewels to her nobility who are now refusing to return them so the mischievous "Grand Duke Gregor" (Walter Kingsford) can usurp the throne. Luckily, our hero and the feisty princess "Thania" (Frances Drake) concoct a cunning plan to get the stones back into the right hands before the imminent coronation of her young brother. There are some spurious accents throughout this hour-long drama, but it's still quite a characterful little enterprise with Lederer and Kingsford developing quite a decent, knife-throwing, cat and mouse scenario. The production is on the basic side, and it really could have been doing with a bit more light, but it's decently paced with just enough intrigue and posh frocks to keep it watchable.

Michael Lanyard & his valet Jenkins decide to check into a fancy hotel in Paris, and the hotel managers have a fit when they find out a notorious jewel thief wanted in several countries is in their establishment. He produces letters from several police chiefs verifying he's been reformed for the last 5 years, but this does little to alleviate their suspicions. Within minutes, a robbery appears to take place, but nothing is stolen. He soon finds himself involved with the princess of a tiny European country, who's trying to prevent 3 very-corrupt "Royals" from over-throwing their government! "WHY are you doing this?" "I have a love for adventure, and a desire to help beautiful woman in trouble."

This leads him to systematically steal back 3 "crown jewels" which were already stolen, and try to get them (and the princess) back home before the coronation of her young brother is to take place. One thing leads to another, lots of intrigue, danger, and a bit of romance thrown in. DAMN-- this is the kind of movie Simon Templar / The Saint should have had in the 30s, if that character hadn't been saddled with such a CHEAP studio as RKO.

Inexplicably, Melvyn Douglas & Raymond Walburn, who were both so perfect as Lanyard and his valet Jenkins (who deeply wishes they were still pulling heists) were replaced by Francis Lederer & Olaf Hytten. Both are EXCELLENT in their roles, though Lederer's continental accent seems strangely out of place (the way Paul Lukas was, playing Philo Vance). I've seen Olaf Hytten is a growing number of films, but this must be the biggest part I've ever seen him play. Also of note are Frances Drake as the beautiful Princess who finds herself falling for a man she never wanted help from, Walter Kingsford as a classy yet slimy villain, and Maurice Cass as an apoplectic hotel manager (he would play a similar role in one of the later entries). I had the feeling Fritz Feld would have been a good fit in that role.

As with what went on with Philo Vance, I cannot fathom what went on with Columbia Pictures. They did 3 Lone Wolf films in a row with different casts, which feel like they were operating in different continuities, despite all being from the same strudio. It's like what happened when the James Bond films went from George Lazenby to Sean Connery to Roger Moore in the space of 3 films.

Also, while the print of THE LONE WOLF RETURNS that OnesMedia has only has slight damage and hissy sound, THE LONE WOLF IN PARIS is in terrible shape. (They actually included 2 copies in their box set, the 2nd one is better, but has Spanish subtitles.) I enjoyed it IMMENSELY despite this. These are 2 of the BEST and most ENTERTAINING films in the entire series, and I feel somebody really needs to get on the ball and do proper restorations.

Finally, the plot about a hero trying to stop the overthrow of a country, I feel, was one more element that made its way into the 1998 Val Kilmer film THE SAINT, which had nothing whatsoever to do with Leslie Charteris, but instead, seemed like a heavily-disguised love letter to Louis Joseph Vance's character. (What the heck was going on there?)