Ajouter une intrigue dans votre langueA PI and editor crash their car on a Malibu highway. Trapped, the editor reveals his boss was killed by gangsters. The PI, hired to avenge the editor, is caught between his old flame Julie a... Tout lireA PI and editor crash their car on a Malibu highway. Trapped, the editor reveals his boss was killed by gangsters. The PI, hired to avenge the editor, is caught between his old flame Julie and new love Dana as suspects emerge.A PI and editor crash their car on a Malibu highway. Trapped, the editor reveals his boss was killed by gangsters. The PI, hired to avenge the editor, is caught between his old flame Julie and new love Dana as suspects emerge.
- Réalisation
- Scénario
- Casting principal
George Ryland
- Interne
- (as George H. Ryland)
Franklyn Farnum
- Cigar Store Clerk at Airport
- (non crédité)
Rory Mallinson
- Reporter
- (non crédité)
Bert Stevens
- Minor Role
- (non crédité)
Avis à la une
High Tide is from 1947 and stars Lee Tracy and Don Castle, directed by John Reinhardt.
The film opens with two accident victims, still at the scene by the ocean. In the car, badly injured, is Hugh Fresney (Tracy) managing editor of the Los Angeles Courier. Outside the car, with his leg pinned underneath the vehicle is Tim Slade (Castle), ex-reporter turned PI.
High tide will drown them. As they wait, we see in flashback the events that led up to the accident. Slade is in LA from San Francisco at the request of Varney. Varney believes he is going to be murdered by a gangster, Nick Dyke, whom the paper has been crusading against.
If that happens, he wants Slade to avenge him and bring him to justice. While Slade is in town, the paper's publisher, Vaughn, has been murdered. Since Vaughn's wife is in love with Slade, it doesn't look good for him with the police.
Detective O'Haffey (Regis Toomey) in investigating Vaughn's death, suspects Slade, Vaughn's wife, and the gangster Dyke, but Slade has other ideas.
This was slow and talky, also a tad confusing. An average noir with a twist ending that comes out of nowhere. Some reviewers liked it more than I did.
The film opens with two accident victims, still at the scene by the ocean. In the car, badly injured, is Hugh Fresney (Tracy) managing editor of the Los Angeles Courier. Outside the car, with his leg pinned underneath the vehicle is Tim Slade (Castle), ex-reporter turned PI.
High tide will drown them. As they wait, we see in flashback the events that led up to the accident. Slade is in LA from San Francisco at the request of Varney. Varney believes he is going to be murdered by a gangster, Nick Dyke, whom the paper has been crusading against.
If that happens, he wants Slade to avenge him and bring him to justice. While Slade is in town, the paper's publisher, Vaughn, has been murdered. Since Vaughn's wife is in love with Slade, it doesn't look good for him with the police.
Detective O'Haffey (Regis Toomey) in investigating Vaughn's death, suspects Slade, Vaughn's wife, and the gangster Dyke, but Slade has other ideas.
This was slow and talky, also a tad confusing. An average noir with a twist ending that comes out of nowhere. Some reviewers liked it more than I did.
Lee Tracy and Don Castle are trapped, dying in a crashed car at the beach. Flashback. Castle has just been hired as a PI by Tracy, playing a newspaper editor, to figure out who's been threatening him. Trouble is, Tracy's boss doesn't like Castle, because Castle and Julie Bishop, the boss' wife, had been a hot item, and she still wants him. So when the boss is shot and Tracy is wounded, things get even more confused....
The trouble with HIGH TIDE is this: there's a good story in there, and all the actors are good and make their lines sound real. The problem is those lines are trite. It looks as if some one saw one of the defining 'tec film noirs, like MURDER MY SWEET and said "Write in a scene where he gets worked over, and then shows up at the girl's house and cracks wise," so the writer does, and "Make the older woman jealous of the younger one." Unfortunately, by the time all these scenes had been written in, there was no way to write in the bits to connect them and make sense of them and keep things moving along at a tight 72 minutes. The result is a very watchable flick, with great moments, that doesn't, alas, bear much thought
The trouble with HIGH TIDE is this: there's a good story in there, and all the actors are good and make their lines sound real. The problem is those lines are trite. It looks as if some one saw one of the defining 'tec film noirs, like MURDER MY SWEET and said "Write in a scene where he gets worked over, and then shows up at the girl's house and cracks wise," so the writer does, and "Make the older woman jealous of the younger one." Unfortunately, by the time all these scenes had been written in, there was no way to write in the bits to connect them and make sense of them and keep things moving along at a tight 72 minutes. The result is a very watchable flick, with great moments, that doesn't, alas, bear much thought
What strikes you in this film is the amazingly efficient dialog, that keeps the film rolling on in a constantly more furious tempo, as if both the writer and the director had been in a hurry to reach the end before the high tide comes to engulf them. The sharp curt dialog and the constantly bolting action makes it a little confusing, so this is a film you need to see several times, and even if you watch it again and again, you will still have some difficulty in sorting things out. Usually in noir thrillers like this there is a dame behind it all, knitting it all together, and there is a dame here of course, but she is not knitting it together but rather becomes more of an outsider excluded from the game. The introductory scene is a masterpiece in itself, two hard gamblers in journalism stuck in a wrecked car after an accident driven off the road next to the sea, while the tide Is rising, certain to drown both of them, while they have a few moments to discuss their situation - then follows the long flashback, which is almost the entire film, while you all the time will be waiting for the moment of the accident, what caused it, and the end of it. Since the film is not very long, only 70 minutes, and since the action is constantly racing, you will have no problem waiting for it.
Flicker Alley and The Film Noir Foundation's latest release focuses on two forgotten films from Monogram Pictures that were shot back to back in 1947. They feature the same director (John Bernhard), the same producer (Jack Wrather), the same cameraman (Henry Sharp) and the same leading man (Don Castle). Both clock in at 71 minutes and are Film Noir stripped down to its bare essentials. The two films were intended to be companion pieces and make an excellent double feature which is the best way to see them. The movies are THE GUILTY and HIGH TIDE and they should be viewed in that order. Also contributing to their ressurection are the UCLA Film & Television Archive and the British Film Institute.
THE GUILTY is truly an example of minimalist filmmaking. It was shot on just three sets with a minimum of exteriors. There are 3 principal characters along with just a couple of supporting roles. The movie was shot in less than 2 weeks on a budget of $150,000 and looks it but that is a plus not a minus. The source material is a short story by Noir specialist Cornell Woolrich. It concerns two army buddies who share a dingy apartment. They both love the same woman who has a twin sister. When the twin is murdered, one of the roommates (who also is the film's narrator) tries to figure it out. He does but with a neat little twist at the end. Former juvenile actress Bonita Granville plays the twins.
HIGH TIDE had a higher budget which allowed for more sets and more exteriors although many are rear projections. The movie is a showcase for Lee Tracy who portrays his archetypal newspaper character from the 1930s except he's now older and more hard edged. An unscrupulous editor takes out a life insurance policy and names a former reporter turned private investigator (Castle) as the beneficiary. After attempts on the editor's life are made, the P. I. tries to track down those responsible. Complicating matters are an old flame and a criminal kingpin. The film opens and closes with Tracy and Castle trapped in a wrecked car on the beach while the high tide is rolling in. Most of the movie is a flashback explaining how they got there.
Future Disneyland hotel owner and 1950s TV magnate Jack Wrather (he produced the hit shows THE LONE RANGER, SGT PRESTON OF THE YUKON, and LASSIE) financed both of these movies. THE GUILTY was meant to showcase his future wife Bonita Granville and his fellow Texan, Don Castle. Castle is very good as the lead in both films but is overshadowed by Tracy in HIGH TIDE as Tracy has the juicier part and better dialogue. Both pictures were adapted by Robert Presnell Sr. Who does a good job in tweaking the plots and keeping most of the original dialogue intact. HIGH TIDE is based on a story by Raoul Whitfield who wrote alongside Dashiell Hammett and Raymond Chandler at BLACK MASK magazine.
Sincere thanks are due to the British Film Institute as they provided the prints used for these restorations. In fact both movies open with the British Board Of Censors' approval certificates. After finding them in their archives, the BFI turned the films over to the Film Noir Foundation who gave them to the UCLA Film & Television archive for restoration. After the restoration was complete, the FNF in conjunction with Flicker Alley prepared this Blu-Ray for commercial release. As we have come to expect from this partnership, we not only get the two movies but lots of supplements as well from documentaries on the creators to a 22 page booklet featuring book to movie comparisons. An outstanding release for Noir fans...For more reviews visit The Capsule Critic.
THE GUILTY is truly an example of minimalist filmmaking. It was shot on just three sets with a minimum of exteriors. There are 3 principal characters along with just a couple of supporting roles. The movie was shot in less than 2 weeks on a budget of $150,000 and looks it but that is a plus not a minus. The source material is a short story by Noir specialist Cornell Woolrich. It concerns two army buddies who share a dingy apartment. They both love the same woman who has a twin sister. When the twin is murdered, one of the roommates (who also is the film's narrator) tries to figure it out. He does but with a neat little twist at the end. Former juvenile actress Bonita Granville plays the twins.
HIGH TIDE had a higher budget which allowed for more sets and more exteriors although many are rear projections. The movie is a showcase for Lee Tracy who portrays his archetypal newspaper character from the 1930s except he's now older and more hard edged. An unscrupulous editor takes out a life insurance policy and names a former reporter turned private investigator (Castle) as the beneficiary. After attempts on the editor's life are made, the P. I. tries to track down those responsible. Complicating matters are an old flame and a criminal kingpin. The film opens and closes with Tracy and Castle trapped in a wrecked car on the beach while the high tide is rolling in. Most of the movie is a flashback explaining how they got there.
Future Disneyland hotel owner and 1950s TV magnate Jack Wrather (he produced the hit shows THE LONE RANGER, SGT PRESTON OF THE YUKON, and LASSIE) financed both of these movies. THE GUILTY was meant to showcase his future wife Bonita Granville and his fellow Texan, Don Castle. Castle is very good as the lead in both films but is overshadowed by Tracy in HIGH TIDE as Tracy has the juicier part and better dialogue. Both pictures were adapted by Robert Presnell Sr. Who does a good job in tweaking the plots and keeping most of the original dialogue intact. HIGH TIDE is based on a story by Raoul Whitfield who wrote alongside Dashiell Hammett and Raymond Chandler at BLACK MASK magazine.
Sincere thanks are due to the British Film Institute as they provided the prints used for these restorations. In fact both movies open with the British Board Of Censors' approval certificates. After finding them in their archives, the BFI turned the films over to the Film Noir Foundation who gave them to the UCLA Film & Television archive for restoration. After the restoration was complete, the FNF in conjunction with Flicker Alley prepared this Blu-Ray for commercial release. As we have come to expect from this partnership, we not only get the two movies but lots of supplements as well from documentaries on the creators to a 22 page booklet featuring book to movie comparisons. An outstanding release for Noir fans...For more reviews visit The Capsule Critic.
Private eye Tim Slade (Don Castle) and newspaperman Hugh Fresney (Lee Tracy) are trapped by their car crash. They wait for their deaths with the incoming high tide. The movie flashes back. Fresney had been writing columns against gangster Nick Dyke. Dyke goes over Fresney's head to make a deal with his boss Clint Vaughn. Fresney hires Slade, "good reporter gone wrong", to join his crusade.
Normally, I love me some film noir. I like the opening premise. Maybe Slade could be trapped in a more precarious position. The waves should be slapping his face to elevate the intensity. In general, I'm not feeling these characters. They are very noir stereotypes. It's falling a little flat but I still like the overall tone. It's a borderline case.
Normally, I love me some film noir. I like the opening premise. Maybe Slade could be trapped in a more precarious position. The waves should be slapping his face to elevate the intensity. In general, I'm not feeling these characters. They are very noir stereotypes. It's falling a little flat but I still like the overall tone. It's a borderline case.
Le saviez-vous
- AnecdotesTCM's Eddie Muller says that some scenes in the film were inartfully edited, which might leave viewers thinking that they missed something. He doesn't say which scenes, but the scene at Pop Garrow's apartment and the scenes where Slade is picked up by the hoods seem to be incomplete.
- GaffesThe killing of Vaugh takes place in the stairwell as Fresney and Vaughn went down the stairs because the elevator wasn't working. After the medic patched up Fresney's shoulder he asks if he's well enough to walk to the elevator so he can be taken to the hospital. If the elevator is working then why did Fresney use the excuse that the elevator wasn't working so Vaughn would use the stairs.
- Crédits fousThe opening credits are washed over by an ocean wave which effectively erases the names.
- ConnexionsFeatured in Jack Wrather: A Legacy of Film and Friendship (2022)
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- How long is High Tide?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langue
- Aussi connu sous le nom de
- Ambición perversa
- Lieux de tournage
- 725 South Hill Street, Los Angeles, Californie, États-Unis(Slade, in a cab, passes the Eat 'n Shop deli and the Keith Jones Restaurant and Bar)
- Société de production
- Voir plus de crédits d'entreprise sur IMDbPro
- Durée1 heure 12 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.33 : 1
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