Qui veut la peau du Faucon?

Some people would kill to possess Mrs Peabody 's pearls - but when somebody does so, did they get the real necklace? And if everybody has a strong alibi, who committed the crime? The famous 'Falcon', sleuth extraordinary Tom Lawrence , must outwit the police to find the answers.

I thoroughly enjoy the Falcon series, especially when played by Tom Conway, who oozes class as the heroic character in the mould of the Saint, and usually the Falcon films are enjoyable, fast paced, and cozily fun with good production values, however this is a slightly lesser entry with some slow spots, but it's still enjoyable, and gets more suspenseful and a little edgy towards the end, especially with the Jane Greer and Elisha Cook Jnr angle.

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.

Tom Conway as the Falcon re-playing the part his brother George Sanders did in the first of this series -- The Gay Falcon -- breaking up a phony insurance scam. Supporting cast includes Rita Corday again. For some reason in this entry we see Vice Barnett playing the role of Goldie Locke that is much better done elsewhere by Edward Brophy. Best part of movie is watching Elisha Cook play the small insecure and obsessed man married to a beautiful woman -- Jane Greer. Cook gives you a glimpse of what he does better in more notable films, but his performance warrants your attention in this otherwise formula 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

For fans of Hollywood 'B' Movies during the so-called 'Golden Years,' the identity of the murderer in Ray McCarey's thriller should be obvious from the start. Like most of the major studios, RKO tended to cast actors in specific character roles; and this film proves no exception.

Nonetheless THE FALCON'S ALIBI does contain some incidental pleasures on the way to the resolution of a complicated plot involving counterfeit pearls, three murders and a so-called 'sophisticated' middle-aged lady (Esther Howard) who turns out not to be quite what she seems. There is a considerable amount of comic by-play involving the Falcon (Tom Conway) and his sidekick Goldie (Vince Barnett): Barnett plays Goldie as a fast-talking New Yorker who can neither make sense of the situation in hand nor comprehend the Falcon's motives. Nonetheless he proves a useful person to have around - especially when the Falcon hatches a plan for discovering the whereabouts of the missing pearls.

Conway gives a mannered performance as the eponymous hero - sometimes his gestures are a little telegraphed, as a means of registering various emotions, but he retains the kind of insouciance that enables him to cope with ticklish situations, especially when Detective Williams (Edmund Cobb) accuses him of murder. We know that he will escape the officer's clutches, but it's fun to see the intrigues he concocts in order to plan the escape.

Like all 'B' Movies, McCarey directs THE FALCON'S ALIBI in brisk fashion, combining studio settings with stock footage (of cars driving along the San Francisco streets). There are at least two musical interludes (RKO believed in trying to attract all types of film-goer to its 'B'-fare), pleasantly delivered by Lola Carpenter (played by the youthful Jane Greer). McCarey also has an ingenious means of using the songs to bridge the transitions between the musical interludes talking place on a night-club stage and the scenes of intrigue in Lola's dressing-room and its environs.

This was the twelfth entry in the Falcon series; by the mid-Forties, it was becoming a little repetitive in terms of plot and characterization. Nonetheless THE FALCON'S ALIBI is still worth a look, if only for the amount of action, incident and music that it packs into its hour- long running-time.