Zarpazos del destino

William Castle was always a B movie director .His talent -amounting almost to genius -elevated some of his 50's work to the status of "event movies" but works like "The Tingler" "Homicidal"and "Macabre"were nothing but glorified B pictures wrapped in the razzle -dazzle of showmanship.

"Undertow"makes no pretense at being other than what it is-a brisk programmer for the bottom half of double features-and satisfies on this level Scott Brady is Tony Reagon,an ex-con going straight who is framed for the death of a mob boss,Big Jim,and the movie deals with Reagon's fight to clear his name with the help of a sympathetic cop and a schoolteacher with whom he struck up a friendship while en route to Chicago where the bulk of the movie is set.

Good use of the Chicago locations and a brisk pace compensate for moderate acting.Its predictable but narrative pace stops it getting tiresome

Today ,William Castle is known as the man who bought Ira Levin's "Rosemary's baby " rights and produced one of the best horror movies of all time.

"Undertow" has a quite derivative screenplay but the director made the best of it and any film noir buff can give it a chance :it thoroughly deserves it.It features at least one unforgettable scene: the chase in the long corridor which gives you goose flesh.Of the two female leads,I prefer Dorothy Hart to the rather bland Peggy Dow.

In the 1968 movie Castle produced ,there was a corridor which played a prominent part too.

"Undertow" is a simplistic example of a good 'B' picture, your basic Film Noir 101 movie. There are no surprises, lots of coincidences and plot contrivances, and the endgame is telegraphed about midway through. Screenwriters could have written this one in their sleep, which may account for the flawed, unsatisfying nature of Undertow.

The cast is attractive; several familiar 'B' actors put this picture over with performances that infuse it with much-needed energy. I thought Scott Brady, John Russell, Bruce Bennett and Peggy Dow were just fine, production values were good, but the movie lacks suspense and tension. Every time a crucial scene would come up you just knew the outcome.

Nevertheless, 'Undertow" succeeds in its own unsophisticated way, and for 40's theater audiences it would have been a good time killer while waiting for the main feature to come on.

Scott Brady, who became a character actor in his later years, was a young hunk in "Undertow" from 1949, directed by William Castle and featuring John Russell, Peggy Dow, Dorothy Hart, and Bruce Bennett. Brady was Lawrence Tierney's brother and sounded just like him.

Brady plays a former mob member Tony Reagan, who, after time in the Army, falls in love with a mountain lodge and decides to buy it. In Reno, he runs into an old friend (Russell) - both the men have rings they want to present to their girlfriends. The club Russell runs is owned by Big Jim. Tony is in love with Big Jim's daughter (Dorothy Hart) and is on his way home to Chicago. Big Jim doesn't like him, but Tony is determined to win him over.

It doesn't work out as he'd hoped. Tony is framed for Big Jim's murder and winds up at the apartment of a woman (Peggy Dow) he met on the plane. She was initially attracted to him, believes his story, and wants to help him.

This film is interesting for several reasons. The first is the fantastic atmosphere of Reno and Chicago, the old cars, the stores, the pay phones - very evocative of the '40s.

The second reason is that Rock Hudson, under the name Roc Hudson, plays a detective. Blink and you'll miss him. Robert Easton is also in the film. It was his and Peggy Dow's film debuts.

The third reason is the appearance of black characters, both of whom have decent roles, and black people who appear as extras.

The fourth reason is the appearance of Bruce Bennett as a detective friend of Tony's. Bennett was an unusual man - under the name of Herman Bix, he was a star shot-putter in the Olympics. He then went to work in films (Treasure of the Sierra Madre, Mildred Pierce, etc.) and lived to be 100.

As for the film, it didn't hold together for me. I figured it out almost immediately, but that's because I've seen so many of these films. The end just fell apart.

The plot is actually impressingly ingenious, as it is impossible to guess what it is all about, and like the poor framed victim and failed wooer you feel inclined to just give it all up, but there are two dames involved in this, one in the thick of it and one by accident. Eventually the one with the many children carries home the prize.

The music adds to the increasing quality of this very suggestive noir, and several composers appear to have been at it, among others Frank Skinner and Miklos Rosza. William Castle directed many films, mostly B, the "Whistler" series and the "Crime Doctor" series among others, but this should be one of the best ones. For once the brevity of the film is an asset, because it increases the density and the brilliant conciseness of the account. The plot is brilliantly contrived, like a perfect jig-saw puzzle, which is impossible to identify before it is finished, as the clue to the mystery arrives better late than never. The actors make good performances, Scott Brady on the rack at the mercy of Dorothy Hart, while Peggy Dow is a relief. You get misgivings from the beginning as it is in the racket of gambling, starting off at Reno and continuing in Chicago with hoodlums and everything, and all your worst suspicions gradually come true. But it is an efficient thriller and well worth watching, for all its extreme unpleasantness of worries and suspense.