Rio

"Reynard" (Basil Rathbone) is quite an unscrupulous business man who comes a cropper when it turns out that quite a lot of his collateral for huge great loans - well, the ink is still wet! It's only a matter of time before he's caught and punished, and so is promptly sent off to the infamous Devil's Island prison to rot. Meantime, his loving wife (Sigrid Gurie) thinks he's dead and gets on with her life with "Bill" (Robert Cummings). When her letters stop coming, he reckons on the worst and so "Reynard" determines to escape and make it back home - except, well he's not ready for the shock awaiting him nor she for his reaction. Victor McLaglen takes up a supporting role as his best pal "Dirk", but he isn't really used enough to make too much difference to what is really a rather unremarkable melodrama until the last fifteen minutes when we reach a denouement that's a bit rushed, but allows Rathbone to use his menacing voice to create just an hint of tenseness. I'm not too sure the island jungle looked terribly realistic, and he must have been a really good swimmer - but those are technicalities for this enjoyable, but forgettable, drama.

1939 was a busy year for Basil Rathbone and sandwiched between 'Adventures of Sherlock Holmes' and 'Tower of London' is this bizarre opus in which he is utterly riveting as Reynard, a sociopathic swindler in true Stavisky mode.

His wife is played by the appealing Sigrid Gurie, promoted by Sam Goldwyn as 'The Siren of the Fjords' but actually born in Brooklyn. Her lover is Robert Cummings and Victor McLaglen is Reynard's henchman, whose devotion borders on the homoerotic. There is some feeble comic relief from Billy Gilbert and Leo Carillo and a few instantly forgettable songs.

A film that begins well but fails alas to live up to its promise and is redeemed by Hal Mohr's cinematography. It remains a must however for Rathbone devotees and is of interest as a taster for director John Brahm's stylish noirs of the following decade.

A Parisian swindler (Basil Rathbone) sentenced to Devil's Island eventually escapes to find his wife (Goldwyn Edsel Sigrid Gurie) has fallen in love with another man (Robert Cummings)...

The year 1939 is considered a high water mark in Golden Age Hollywood's studio era but RIO is a movie I doubt we'll hear much about in the future (godknows, I never did in the past). It's an odd-ball Universal "A" with a "name" cast (Basil Rathbone, Victor McLaglen, Robert Cummings, Leo Carillo, Billy Gilbert, and, at the time, Sigrid Gurie) and probably a "programmer" (a movie shown as the bottom half of a double-bill in big theaters and by itself in smaller venues) that came and went rather quickly. The IMDb labels it "film noir" but it's not -not that I could see, anyway. If anything, it's quite possibly a "proto-noir" but that's only because of the director, German émigré John Brahm (THE LODGER, HANGOVER SQUARE, THE LOCKET) and the fact the protagonist is an "anti-hero", something unusual for movies in 1939. Rathbone's the star -it's his adventures we're following- and being France's answer to Bernie Madoff and a cold-blooded murderer made him no less likable. Basil was right at home as a French fancy pants but making with the beefcake was pushing it a bit, especially when stripped to the waist on a chain gang or making a daring escape through the swamps. The setting was quite ambitious (Paris, Devil's Island, various nightclubs, the South American jungle, Rio during Carnivale) and nicely realized, considering, but those four songs were there, no doubt, to pad it out -or promote Sigrid Gurie, who warbled three of them (which was two too many if you ask me). Siggie was launched the year before by Samuel Goldwyn as "The Norwegian Garbo" when he starred her in THE ADVENTURES OF MARCO POLO and if her talents had been more than modest, it probably wouldn't have mattered when the press later found out she was born in Brooklyn -but it did and she faded fairly quickly. I'd give it a "recommended if it's not going out of your way" -provided it ever pops up anywhere.

In Rio, Basil Rathbone is Paul Reynard, a wealthy man seeking a loan from several banks. Actually, it transpires that he has given them all a lot of fraudulent bonds as collateral.

On his anniversary, he's arrested and shipped to Devil's Island. He makes his sidekick Dirk (Victor McLaglen) promise to keep an eye on his lovely wife Irene (Sigrid Gurie). Broke, Irene returns to her career of singing.

She then meets Bill Gregory (Robert Cummings), an engineer who was involved in a bridge that collapsed due to faulty materials - not his fault, but he is blamed. The two fall in love, although she stays loyal to her husband.

Reynard, however, escapes. There the trouble begins.

This is an odd, dark film, with some excellent performances. There are some good scenes - Reynard escaping through the swamp, Rio at Carnivale, and the nightclub scenes.

Not as good as the director's (John Brahm) other films, but recommended for fans of Rathbone and for the performances and atmosphere.

John Brahm's Rio is often cited as an early (1939) precursor of what would become, a few years later, film noir. But it doesn't have a great deal going for it, though Brahm later did creditable work in the cycle (The Brasher Doubloon, Hangover Square, The Locket). Basil Rathbone, best known of course as Sherlock Holmes, puts aside his deerstalker's cap and meerschaum pipe to portray a swindling international financier who, along with his songstress wife (Sigrid Gurie, whoever she was), seem to be the toast of le tout Paris. Alas, he's arrested and sent to rot in one of those French-colonial penal colonies off the coast of South America (which probably never existed but is conveniently close to Rio de Janeiro). His wife sticks by him for some reason and journeys to Brazil, though she's sorely tempted by Robert Cummings as an engineer fallen into hard times and the bottle. Rathbone, meanwhile, murderously escapes to Rio.... The plotline lacks tension and, save for Rathbone's Sten-gun elocution, there's not much acting to savor either -- though Gurie sings a few songs in decadent nightclub settings. Some viewers might be happy to hear them.