Strange Illusion

Although I would hesitate to call it "film noir," Strange Illusion is a tightly woven, intriguing mystery. For a Poverty Row production, the writers and Ulmer paced the film well and kept it interesting. The acting, although amateurish at times, doesn't distract from a believable story. My only real complaint about the film is the music-- too much and too loud.

Brett's penchant for teenage girls is a refreshingly realistic perversion for a film of the '40s. It also stands in stark contrast to the "gee whiz" scenes which seem lifted straight out of "Leave It to Beaver."

I rate it 7/10.

After his wealthy and influential father is killed in a suspicious accident, a teenager by the name of "Paul Cartwright" (James Lydon) begins to have nightmares about a mysterious man attempting to ingratiate himself with his widowed mother "Virginia Cartwright" (Sally Eilers) and sister "Dorothy Cartwright" (Jayne Hazard). When he tells his family physician and good friend "Dr. Vincent" (Regis Toomey) about it he is initially told not to worry too much about it. However, Paul becomes even more alarmed when a stranger by the name of "Brett Curtis" (Warren William) arrives at his home bearing an uncanny similarity to the man in his nightmares. Now rather than reveal any more I will just say that this was a decent grade-B crime-drama which featured solid acting and an imaginative plot. Admittedly, there were some scenes which were a bit unrealistic but this film was certainly worth the time spent to watch it and have rated it accordingly. Average.

Its films like this that gave Edgar G. Ulmer his reputation as a director who could overcome the limitations of rapid lowbudget film making, even though STRANGE ILLUSION is actually an "A" picture by PRC standards. When Ulmer had interesting material to work with, the results were often good, as they are here. The story is fairly involving. Jimmy Lydon plays a college student who dreams of his late father being killed in a train/car wreck. In the dream he sees his widowed mother being seduced by a sinister but charming figure. Then the dream begins to come true, and Lydon has to convince others is was not all just a dream. The photography is low key and moody. The film is well paced and held my interest throughout. The dream sequences are well directed. My only complaint is that Jimmy Lydon's mother looks a bit to young to have a college age son.

Much has been made of Mr. Ulmer's talent, and here, he makes good use of it. While someone on the order of a brooding Farley Granger, for example, would have been preferable as the lead, James Lydon, nonetheless, turns in a commendable job as Paul Cartwright, a college student haunted by prophetic dreams. It's genuinely refreshing for a change, to look back upon a time, when teen-agers were still presented in a wholesome and appealing light. And, Mr. Lydon, movieland's "Henry Aldrich" certainly had the credentials for those traits. But, here, Lydon is caught in a story of deathly threats, with implications far more threatening, than the "Golly--Gee!" consequences of smashing his date's corsage for the Senior Prom.

As for the plot, Paul, manages to prevent his wealthy widowed mother from marrying a male gold-digger, with a string of unsolved murders in his past. Naturally, Paul has to undergo any number of travails before the violent denouement, including amateur "detective" work that triggers both a feigned and a near real nervous collapse. He is even "voluntarily" committed to an asylum where further sinister developments befall him. The ending, cleverly finds him lost in an unconscious dream state again, but now enjoying a vision of a liberated and happy future.

Mr. Lydon was "slumming" at PRC, on loan from Paramount, and preparatory to his turns with glamorous Elizabeth Taylor in "Life With Father" and "Cynthia" both glossy, expensive, mainline productions.

Nonetheless, this PRC production possesses relatively handsome art direction and production values, given that, based on production files with the American Film Institute, it was actually shot in just 15 days, (as opposed to the erroneous oft-cited 6 day schedule.) By the way, take a good, hard, look at the exteriors of the Lydon family chateau in this. Look familiar? Yes, it's the same house used as Robert Walker's home in "Strangers on a Train" and June Lockhart's in "Bury Me Dead."

All told, if you enjoy crime stories focused on young people trapped in traumatic circumstances, it's definately worth a look.

"Strange Illusion," reminiscent of Shakespeare's "Hamlet" and also director Edgar G. Ulmer's own stylish 1934 effort, "The Black Cat," is so full of holes and contrivances one can hardly take it seriously. It's worth a look, however, for a quartet of captivating performances: a slick and scheming Warren William, past his prime but as solid a screen presence as he was in the early 30s; Jimmy Lydon, the epitome of wholesome, fresh-faced adolescent idealistic innocence as a young man suffering disturbing dreams about the recent suspicious death of his highly-placed politician father; Sally Eilers, also past her prime but ever so competent and fetching as Lydon's widowed mother and Charles Arnt as a weasely psychiatrist in cahoots with William. Besides this quartet, we have the wooden Regis Toomey, a sort of run-of-the-mill "B"-actor during the studio era who ended up playing supporting roles in 1960s TV shows, as a family friend who is gradually convinced by Lydon that William is, to say the least, not to be trusted. The low budget is evident throughout but it doesn't prevent the viewer from rooting for Lydon.