The Falcon's Alibi

This is the twelfth Falcon film. It has exciting appearances in it of Jane Greer, aged 22 but looking and behaving 32, and Elisha Cook, Junior. This is apparently the only film in which Jane Greer plays a singer, and she sings very well. Her song is absolutely extraordinary in that the lyrics feature planned silences and hesitating phrases which drop out of the rhythm, and frankly I have never heard a song pull off such tricks successfully, and the film is worth seeing for the song, not because the melody is any good, but because the song is musically unique as far as I know and would repay close study and analysis by any serious song writer. Elisha Cook gets to do more acting than usual in this film, and he is even scarier than usual, and completely convincing, as always. Jane Greer did not become a noted noir player until the following year, and was still obscure at this stage. Jean Brooks is in this one, but gets very little screen time and her presence is frankly wasted. I guess because she was part of the team, they were inventing a pretext for her to have a fee. We get to see her in a revealing gown with exposed back, which menacing ice maidens don't normally show, but that's about all. Rita Corday is in this one too, and she gets a big part and shines. Vince Barnett is much less annoying as Goldie the sidekick than the atrocious Edward Brophy in the preceding film, though he still gets on one's nerves. The film was well directed by Ray McCarey, who died only two years later at the age of only 44. Believe it or not, I actually knew the man who wrote the story for this film, whose name was Manny Seff. He was a very delightful and amusing guy, a great conversationalist, story teller, and joke cracker, who was getting old when I was very young, and it adds dimension to an old movie when you can say: 'There's Manny Seff's name as the writer!' He is exactly the kind of fellow I had always imagined writing these stories, and there suddenly his name appeared on the screen to prove it. I can't say it was a total surprise, it just seemed so appropriate. Judging from what I know of him, and guess about the others, these people must all have had a lot of fun making these films, which is probably one reason why they are so entertaining.

The Falcon and Goldie get mixed up with stolen jewelry and a series of mysterious murders surrounding the disappearance.

The movie's a brisk, better than average entry in the Falcon series, with a good little mystery, understated humor, and a drop-dead sexy Jane Greer. In fact, where else can you see creepy little noir icon Elisha Cook actually smooching with a gorgeous noir vamp like Greer. Then too, Cook gets an unusually assertive role here that he plays to the hilt. I really like the way his character uses his all-night radio program as a cover. It's a good little glimpse of old time radio. Also, watch for the slatternly Esther Howard (Mrs. Peabody) playing an uptown lady for once, that is, until her final scene. Of course, Conway, Corday, and Barnett are their usual reliable selves in this solid Falcon entry.

The Falcon RKO film series is mostly very enjoyable, with both George Sanders and his brother Tom Conway who took over from him being great in the title role.

Admittedly, some are better than others. For examples there are some particularly fun entries such as 'The Gay Falcon', 'A Date with the Falcon', 'The Falcon Strikes Back', 'The Falcon and the Co-eds', 'The Falcon in Hollywood' and 'The Falcon in San Francisco', while others while still very much watchable disappoint a little such 'The Falcon's Brother', 'The Falcon in Danger', 'The Falcon Out West' and 'The Falcon in Mexico'.

On the most part, while not fitting among either extreme of whether among the best or weakest Falcon films, 'The Falcon's Alibi' is solid fun and works well. The culprit is pretty obvious early on, almost from when they are first introduced, and the ending is a little hasty and abrupt (not an uncommon problem in this series). While most of the supporting cast are great, there are a few that don't quite make an impression.

Jean Brooks is wasted due to being given so little to do, and while Al Bridge and Edmund Cobb do alright, they are in types of roles filled more effectively in the Falcon series by Cliff Clark and Edward Gargan as well as James Gleason. Vince Barnett was only serviceable as Goldie, personally thought that Edward Brophy had more enthusiasm and that Allen Jenkins was more of a scene-stealer, Barnett was an admirable stooge but his material is a little bland in places and he occasionally overdid it (by all means not a bad performance).

However, a lot also does work. The music is lively and haunting, the songs are particularly great and the use of them ingenious, and on the most part the production values are slick and atmospheric with particularly nicely done photography. The film is directed with liveliness and tautness, while the script is playful and much of the story is absorbing and goes at a bright and breezy pace with the odd bit of dark suspense.

Conway is dapper, suave, charismatic and amusingly cutting here, he always thrived in the title role and 'The Falcon's Alibi' sees him give one of his most confident performances in the role. Rita Corday is low-key and charming, while Emory Parnell is amusing (though his screen time is short) and Esther Howard and Jason Robards Snr are solid. The two best supporting performances are a sizzling Jane Greer and a sinister Elisha Cook Jnr.

All in all, solid fun if not among the best or weakest of a mostly enjoyable series of films. 7/10 Bethany Cox

During a day at the races, Guy Lawrence meets the wealthy Mrs Peabody and her ward, Judith Meredith and he accepts their invitation to a party later that night. Judith confides in The Falcon that she fears she will be accused if more of Mrs Peabody's jewels are stolen – she already has a suspicious insurance investigator on her case due to a previous claim. When the jewels do get stolen and a butler murdered, Judith is suspected and turns to the Falcon to help solve the mystery and save her.

Several years after the falcon series changed hands, and everyone seems a lot more comfortable than they did in that first vehicle where Conway first went solo. The plot here is the usual mix of pretty girls, mystery, red herrings and gentlemanly action. It is hardly the most original stuff ever made but it is a reasonably enjoyable little story even if it didn't grip me in the way that a really good thriller should do. The film has enough energy, intrigue and humour to do the job and, although the material is just entertainment, everything more or less comes together. The first song of the two is really cute and the humour is mostly good.

A big part of this is everyone hitting their marks right. Conway seems perfect for the role now and seems a lot more confident. He is as good as Saunders was here. Barnett is on point as Goldy as well; at first he was a poor replacement for Lefty but, after being dropped from at least one of the movies, he is good here. It is just as well really since the comic relief usually provided by the police is absent and replaced with a dour insurance man who has little to do. Corday is yet another blonde for the Falcon to woo and she does well enough for that sort of role. He's a little hammy but Cook is always interesting and we also have solid support from Robards Snr, Howard, Jane Greer and Bridge.

Overall not a superb film but a better than average entry in an entertaining series of films. Everyone seems at home and enjoying their roles and it is almost a shame that the series was just approaching the end of its 13 film run.

The 12th and penultimate RKO Falcon film was a hardboiled affair, with the two wildly different main strands converging to a rather sudden conclusion. Some nice noirish moments, atmospheric photography and natural acting by all go to make it an enjoyable ride.

Tom Conway playing Tom Lawrence aka the Falcon and Goldie (played for the only time by Vince Barnett) get called upon to protect a "lady's" pearl necklace, alas to no avail – it's already gone. An insurance scam is uncovered with Emory Parnell in his 3rd Falcon as a slapstick insurance detective. The other thread has manic Barbary Towers hotel dj Elisha Cook Jr. (the one man Radio KGR) with his own problems, not the least keeping hold of his wife, gorgeous Jane Greer. His was the watertight alibi of the picture, not a new idea then and borrowed shortly afterwards to greater effect by Claude Rains in The Unsuspected. It was Rita Corday's 6th and final Falcon film, this time pretty low-key - all those name changes surely didn't help her future career? Favourite bits: listening to Greer's pleasant singing voice; the "smudge" fire routine in the hotel bedroom ably performed by Goldie; Cook's record library - you could get all those tons of shellac onto a single mp3 player now! Needless to relate, Tom solves everything, albeit a couple of murders too late, but woe betide you if you miss that last minute – they closed this one down fast!

Nothing here for the serious, nice entertainment for us fans.