Jigsaw

Film noir fans seem to be ready to watch just about anything that their favorite genre provides, very much including minor efforts of which few have heard. This particular one has been available from various public domain sources for years, but it will probably prove to be a tedious disappointment.

Franchot Tone plays a district attorney who begins an investigation into the suicide (?), which the audience knows from the opening scene is a murder, of a press printer for a hate group. Soon the D.A.'s reporter/buddy on the same case is also murdered.

This murky, confused, badly edited film's narrative is a challenge for anyone to follow. That's not particularly uncommon for film noirs, of course, but the film (especially with the various PD prints) also lacks any distinctive visual interest or directorial style, making for a pretty dull going that, for this viewer, at least, couldn't end soon enough. Prints of the film may vary. The one I saw was 74 minutes.

The most curious aspect of this low budget production are the various three to five second cameos made by a number of "A" list stars. There's Burgess Meredith as a bartender, Henry Fonda as a waiter, John Garfield as a newspaper reading street guy and Marlene Dietrich as a patron leaving a nightclub, that nightclub appropriately called "The Blue Angel." I also spotted Marsha Hunt and Everett Sloane.

Exactly why these stars briefly appear I'm not quite certain, though in the case of Garfield it was as a favor for pal Franchot Tone. It was probably much the same kind of thing with the others.

If you're a hardcore noir fan (there is one murder sequence done at a low camera angle that perks the interest a little), there are various prints of dubious quality available of this one on You Tube.

This 1949 film is interesting on several accounts. First off the movie appears to have been shot primarily on location in New York in the late 1940s. It appears to be the Brooklyn Museum where the finale of the movie takes place.

Franchot Tone plays the lead detective, and Jean Wallace plays a nightclub performer. Tone and Wallace were married at the time of this film, and would make other films together. This is still a few years away from the 1951 love triangle between Franchot Tone, Barbara Payton and Tom Neal, in which Tone was beaten to a pulp by Neal. In the aftermath of that event, Jean Wallace stabbed herself in an unsuccessful suicide attempt. Her and Tone had two children and the public humiliation of Tone and Paytons affair pushed her over the edge. Wallace herself was arrested numerous times in the 50s for drunken behavior.

This film appears to be a social commentary on communism. Though communists are never mentioned, the secret organization bears all the marks of a communist party. Several actors in the film, as well as some who simply had walk ons appear in the film, perhaps as a way of showing how they feel about communism. John Garfield, Marsha Hunt, Marc Lawrence all who were publicly involved in the witch hunts that occured in the late 40s and early 50s appear in this film. Other stars who have minor roles include Burgess Meredith, Marlene Dietrich and Henry Fonda. In the nightclub scene, look in the background for debutante Brenda Frazier, a kind of Paris Hilton of her day.

JIGSAW (1949)

** 1/2 (out of four)

After his reporter friend is murdered, a D.A. goes off looking for the killers. Once again, the 1940's delivered all sorts of gems within the noir genre. This film here has quite a good reputation but I personally found it to be quite slow and boring in spots. The performances are all good but the director isn't able to get much out of the story and in the end nothing makes too much sense. Seeing stars like John Garfield and Henry Fonda is always great but their cameos add very little to the film.

Available on DVD through various PD companies.

I got this film from one of those public domain mega-packs on DVD. While this is not a bad film, I can see why the film makers didn't bother renewing the copyright--it just wasn't all that interesting. Most of the problem seems to be with the writing. The plot seems to bounce all over the place and where the film began seemed to have absolutely nothing to do with where it ended. Had all the dull moments and irrelevant plots been eliminated or polished, I really would have enjoyed the film a lot more than I did.

Franchot Tone plays a prosecutor with the DA's office who is initially looks into the case of a White supremacist who might have been murdered. Whether or not this is the case is uncertain, but when Tone's newspaper friend is killed when he tries investigating (again, it was made to look like a suicide), he knows that there is some sort of conspiracy afoot. However, instead of trying to bash heads and get to the bottom of it, he infiltrates an organization that might be behind all this--as well as buying and selling public officials.

As I said, the writing was pretty poor. However, for film nuts like myself, it's still worth seeing for all the strange and unexpected cameos, such as Henry Fonda and John Garfield (among others). Not a good movie but it has enough to it that it isn't a total waste of time seeing it--not exactly a glowing review, huh?!

An odd little indie production. It's like the producers don't have the courage of their convictions, resulting in a muddled storyline, as others point out. The aim apparently is to warn viewers about the appeal of rightwing movements during the McCarthyite post-war period. The warning could be understood as a logical reaction to the anti- communist hysteria then gaining strength, particularly in Hollywood. The trouble is the message gets muddled by making the appeal ultimately a scam engineered by criminal elements. Thus the tricky political aspect is overshadowed by the less controversial element of criminality. I suspect a clearer message was expected by the cameo appearances of such principled liberals as Fonda and Hunt, plus a committed lefty like Garfield. So, my suspicion is the movie-makers backed off at the last minute with a hastily revised and ultimately muddled script, rather than risk going against popular currents of the day.

The movie itself is only mildly interesting. The elegant party scene with Tone's revealing voice-over is both novel and perhaps a highpoint. Director Markel shows some imagination with well- timed close-ups, while Tone delivers a nicely modulated performance, perhaps at times too modulated. Stealing the film, however, is unknown actress Winifred Lenihan as dowager schemer Mrs. Hartley, a premier mix of charm and menace. Overall, the movie remains something of an obscure curiosity, perhaps illustrative of the quandary liberals found themselves in during a vexed period in the nation's history.