Take One False Step

William Powell doesn't just take one false step in this thriller, he takes several. But the point of the story is that it only takes one step in the wrong direction for you to tumble completely down the hill and crash. As is often the case in Hollywood oldies, the false step comes in the form of a morally loose woman. There's nothing worse than a floozie who likes booze and men, in the eyes of the Hays Code.

Bill is happily married to Dorothy Hart, and has a good job as a college professor. Temptation comes in the form of Shelley Winters, an old girlfriend who wants to have another fling. She's sizzling in this movie and gets to wear some gorgeous gowns that leave nothing to the imagination. However, if Bill is happy and has moved on, why does he agree to go to her apartment for drinks? One false step leads to another, and the next thing he knows, he's being accused of Shelley's murder. . .

The oddest part of this movie is that when Bill gets into trouble, he doesn't turn to his wife. He turns to his gal pal Marsha Hunt, and the two of them seem to have a better relationship than he and his wife. The script could have made Marsha his wife and cut out the friend's character altogether. You'll also see James Gleason, Sheldon Leonard, and Felix Bressart in the supporting cast. It's a bit sad to see Felix in his last movie, because he was very thin and very sick. He's often filmed from behind or at a distance, and I wonder if a double was used. Still, if you're a Shelley Winters fan, you might want to check this one out to see her looking so pretty.

An entertaining and humorous yarn about a respectable man who through no fault of his own is drawn into a series of adventures to clear his name with a climatic conclusion on a ledge.

A bit like North by Northwest...isn't it, though maybe I am reading too much into the story.

Good acting all around with super stars of this era doing their best to entertain.

A clever script and smart direction.

No matter how much trouble they are in all the performers are immaculately attired, especial the lead players.

Pity about the tobacco intake but hey this was a different time period.

Anyone looking for an escapist film noir from the past need look no further:

7/10.

William Powell is in town raising money for a new college. He runs into Shelley Winters, one of his girlfriends during the War. She invites him to a party, but finds it pretty sparse. Winters comes on to him, hinting at an unhappy marriage. Powell rejects her, since his marriage is happy. The next morning, Miss Winters is reported as missing. Powell goes to her house to recover a scarf he left. He is bitten by a dog. Evidence points at Miss Winters being in San Francisco. Powell goes, soon to be pursued by cops James Gleason and Sheldon Leonard. Also, the dog is reported as rabid.

This movie plays like a mash-up of THE 39 STEPS and D.O.A., with director Chester Erskine larding on the dark atmosphere increasingly as the movie progresses. Unfortunately, there is no humor in the script, nor any clear reason why Powell would not go to the police at any point. The result is a slow movie that does no one's career any good.

After many years of exclusivity at MGM William Powell was starting to do outside projects like this one, Take One False Step. He's teamed with a most improbable partner, maybe the most improbable he had since Bette Davis, this being Shelley Winters.

I think that's at first glance. I'm not sure today's audiences might have appreciated this fact, but Powell and Winters are introduced to us people who may have had a wartime fling. In those days of separation and Powell is mentioned as being a scientist and in the army. That could have spelled isolation and you took your needs where you found them. That would be true for women as well. So this unlikely pair of lovers might have been an item circa 1941 to 1945.

But this is 1949 and Powell is in Los Angeles from New York with a pair of fellow academicians, Art Baker and Felix Bressart, who are pitching a Philistine like millionaire played by Paul Harvey for a big check to endow a new university they want to found. In the middle of this campaign, Powell hears from Winters. When Powell meets Winters we can see that they really are from two different worlds, but a post World War II audience would have appreciated it.

Shelley has got herself a nice little drinking habit and Powell after a bit of coaxing goes on a midnight drive with her where she wanders off in a state of inebriation. The next day Powell finds out through her friend that she's missing and presumed dead and the LAPD is looking for a distinguished male friend she was with that night.

Powell instead of turning himself in, starts his own investigation and gets himself in deeper. Turns out Shelley's husband Jess Barker is a low level syndicate runner whose responsible for a large amount of betting money that's also missing. Just what has Bill stepped into?

It would have been smarter all around had Powell just gone to the cops in the first place, but detectives James Gleason and Sheldon Leonard who you might think are Keystone like Kops and do have some funny lines really do have a handle on the thing all the time as you'll see if you watch the film.

Powell and Winters are completely lacking in chemistry, but that's part of the key to both their characters, two people who except for being thrown together during the war would never in a million years have hooked up.

Even after the plot is resolved, there's still a surprise waiting for Bill Powell. Take One False Step will never be among the top 10 of the films for either of the stars, still it has quite a bit going for it just in the contrast of the leads.

In order to finance his new college, Professor Andrew Gentling (William Powell) and a pair of colleagues travel to Los Angeles to secure funding from curmudgeonly tycoon (Paul Harvey). Things go awry after Powell runs into his now married, former girlfriend (Shelly Winters) at his hotel bar. Powell, now happily married himself, reluctantly accepts an offer to go with Winters to a small get-together that evening to meet another old friend (Marsha Hunt). After dropping Winters off in front of her house later that night, Powell learns from a newspaper article the next morning that Winters has been reported missing and that foul play is suspected. Rather than reporting what he knows about the incident to the police, Powell, fearing losing financing for his new university from stuff-shirt benefactor Harvey, (who as a plot convenience hates any hint of scandal), decides to play detective and solve the disappearance himself.

'False Step' is part Hitchcock suspense thriller, part old school detective, a smattering of Powell's witty 'Thin Man' and topped off with a few dashes of 1930's screwball comedy. The casting and characters are also an unusual lot from Shelly Winters as the dapper Powell's floozy ex-girlfriend to James Gleason and Sheldon Leonard as a couple of wise cracking Runyonesque type cops. The results, like the styles, are mixed. The movie never really gets into a flow. Like a screwdriver in the bicycle spokes, what could have worked as a suspense mystery is thrown off the tracks by invasive injections of unneeded comedic relief. The script itself, in addition to lacking a cohesive direction, is just generally confusing as to the suspects' relationships and motivations. As such the urbane Powell is largely wasted as he steps through the disjointed scenes in a workman-like manner.

'Take One False Step' does have it's moments mainly due to Powell and cast mates who manage to pull it across the finish line. All-in-all it's a competent but forgettable film.