The Hoodlum Saint

Peculiar little movie that seems like it would have been a better fit for a pre-WWII Warner Bros. gangster picture. The story's about a WWI soldier (William Powell) coming home to find he's out of work. He and other returning vets have no choice but to rely on charity to get by. Embittered, he decides to get rich no matter what it takes. But the love of a good woman (Esther Williams) will undoubtedly set him back on the path of the straight and narrow. It's a strange one, to be sure. The aging Powell is miscast, the movie is mistimed, and Angela Lansbury's singing is dubbed despite her having a fine singing voice. The supporting cast is good, including Lansbury, Frank McHugh, Rags Ragland, and James Gleason. But the starchiness of the script that doesn't allow either of its charming leads to do what they do best and the lack of romantic chemistry between said leads is the film's undoing. It's watchable enough for fans of Powell and Williams but not something that will make either's career highlight reel.

THE HOODLUM SAINT (1946) is a curiosity. It has the feel of a film that would have fit perfectly in 1936 for it has none of the post-war (WWII) sophistication that had been developed over the last ten (10) years. It is clearly locked in as a typical mid-thirties programmer. This may be because the screenwriter 'SPIG' Wead was on his last legs, literally, (died 1947) needed a paycheck and just recycled concepts that he was more successful with a decade ago.

The 'NUTS'...Veteran from WWI (then the GREAT WAR) returns to find job gone. Goes for the easy buck. Makes fortune, loses same, redemption through love, fade out. The films sole saving grace is it's excellent cast headed by William Powell (always dependable), supported by pros' James Gleason, Lewis Stone and Frank McHugh. The feminine interest features Angela Lansbury and Esther Williams. If you have never seen Ms. Lansbury when she was a young hot-tie or Esther Williams out of the pool that alone makes this film deserving of at least one (1) look.

MGM like all major studios was committed to a production schedule of fifty (50) feature films a year. It was the largest and had the most actors on payroll and they had to be kept busy. Look through the principal cast and we bet their credits come to over three hundred (300) features. In less then five (5) years this luxury will disappear and with it the production schedule of fifty (50) a year. Now it would be T.V. that shouldered the burden of production.

When The Thin Man series was in high gear one of the endearing parts of those films is how Nick Charles would constantly be running into various criminals he'd had dealings with in the past. Usually he'd run into them while out with Nora and it was always fun to see how Nora took to these characters, people she wouldn't in a million years be associated with herself.

I think that MGM thought it was funny too so William Powell was cast as a returning veteran from World War I who as a newspaper reporter before the war apparently had a similar rogue's gallery of friends. It didn't really work here though, Powell is cast in a part that probably would have fit James Cagney or even Spencer Tracy better.

Plus the fact that in 1946 William Powell was 54 years old. Esther Williams in her memoirs thought it was ludicrous to be working with a man twice her age as a romantic couple. She describes in her memoirs the elaborate makeup preparation Powell went through and in fact he had to wear a girdle to keep his middle age spread from showing too much. According to her, Powell thought it just as ludicrous and in fact would be doing the lead in Life With Father the next year, a role far better suited to his age and talent.

Of course any film that utilizes the combined talents of James Gleason, Slim Summerville, Frank McHugh, and Rags Ragland as the four Damon Runyonesque characters in Powell's life can't be all bad.

Powell is a returning veteran from World War I who can't get his old job back as a reporter in Baltimore. So by hook or crook he makes a great deal of money, some of it by tactics this side of a con game. He meets two women in his life, socialite Esther Williams minus pool and nightclub singer Angela Lansbury dubbed in this film.

He's got these characters though who he likes but are becoming quite a burden around his neck. When Gleason gets pinched for bookmaking he makes up a religious yarn about a mysterious St. Dismas, the good thief crucified with Jesus as the one who gets the Deity to move in mysterious ways. Gleason gets sprung and it works too well as he becomes a fanatic on the subject. Powell, caught up in his own chicanery, becomes a big mover and shaker in a St. Dismas foundation.

It's not a bad story, nostalgic for its times as the action starts at the end of the previous World War. It also could have used someone like Frank Borzage, or Henry Koster, or even Frank Capra who dealt better with this kind of material.

The war was not World War II, but rather, the Great War. Returning veterans were treated well, the plot line tells us, but they did not all return to their jobs. Such was the fate for one Terry O'Neil, a delightful role in the hands of William Powell.

Always eager to help the friends he made as a reporter – yes, his sources were often hoodlums – he does that. The doors are slammed in his face, and he uses his supreme wit to make his fortunate. He uses religion – Catholicism and Saint Dismas (Patron of Thieves) – to get his hoodlum friends to leave him alone. So we the viewer are left with a nice guy who has changed into a driven man with plenty of money and no need whatsoever for faith.

America changed on October 29, 1929, and so did Terry O'Neil. Anything else would be a spoiler, but it is a William Powell movie and Powell's characters were wicked smart and unwicked decent sorts.

The love interest, and films have to have one of those, was played beautifully by a beauty: Esther Williams. O'Neil's dark side's love interest was played by Angela Lansbury, straight from Broadway with a voice to match her beauty.

THE HOODLUM SAINT may, as has been suggested, have been better suited for '36 than for '46, but it plays well in '07 for those of us who love these films.

This is an old-time enjoyable movie, the plot keeps moving, with new and interesting events around each turn. The movie is lot like real life, which has setbacks, but eventually things like character and work ethics are what win out in the end. The protagonist, a war veteran, becomes very wealthy by bravado, good fortune, creative thinking, and hard work, only to lose it in the great crash of 1929. And I suppose that the way one's character weathers misfortune is equally important to the one's character in earning it.

This is not the shallow stuff you see in the movie houses of today. Ester Williams and Angela Landsbury are not only great actors, but are also beautiful and great to watch.