Two Smart People

Con man John Hodiak meets confidence woman Lucille Ball and they fall in love. Or does she? Hodiak is heading to Sing Sing with cop Lloyd Nolan for stealing half a million dollars in bond. Five years sewing mail bags wil net him that half a million, so he's doing it willingly. Or is he? Miss Ball is definitely on his mind, as is Elisha Cook Jr., who wants half the money. Or does he? Might Miss Cook and Miss Ball want all the money?

This was a failure at the box office, and it's easy to see why. Everyone seems slightly miscast, save Nolan, who gives one of his usual dependable performances, and Vladimir Sokoloff. Yet I enjoy this movie immensely. It's the big Mardi Gras sequence at the end of the movie, and Karl Freund's camerawork. His portrait photography shows he can do MGM's high-lit shots as well as any, and he makes Miss Ball more beautiful than she had ever been, before or since. No wonder he became the chief cameraman for Miss Ball's TV show!

In order to enjoy this movie, you have to start out with the understanding that the plot makes ABSOLUTELY NO SENSE! A convicted con man (John Hodiak) convinces a stupid police officer who is accompanying him to prison (Lloyd Nolan) to make it a leisurely first class trip together -- by way of New Orleans, Mexico, and some top notch night clubs and restaurants. Apparently this is the idiot cop's brilliant way of trying to loosen up the con man and trick him into revealing where he has hidden some valuable bonds. Add a beautiful con woman (Lucille Ball) who finds out about the bonds from the idiot cop, complete changes in personality on the part of the key characters near end of the film, and a particularly ridiculous non-explanation for how the bonds were recovered at the finale. It's a lot for a reasonably intelligent mind to discard.

But if you can, there are some notable performances. Lucille Ball is very believable in a non-comic, romantic role. She was quite a hot-cha-cha back in the day, if you can get Lucy Ricardo out of your head (another one of the mental challenges this movie presents). Lloyd Nolan plays his usual straight arrow, trustworthy role so convincingly that it's hard to believe that he makes so many dumb decisions and gets into so many stupid jams during the trip. It's almost like he's the world's most unfunny member of the Three Stooges. I never understood why the con man didn't just escape with the bonds during one of the many moments when Nolan was distracted, then come back and get Lucille Ball later if he was so in love with her.

I was impressed with the solid acting job that John Hodiak did as the con man, so I looked him up on the internet to find out why he didn't become a bigger star, and sadly discovered that he died fairly young. He did a good job of being just rogue-ish enough to be a convincing con man, but just soft enough to fall in love with a glamorous woman.

Anyway, this isn't the only movie ever made that requires you you check your brain at the door. And if you can, there are worse ways to pass a couple of hours.

Anyone coming to Jules Dassin's Two Smart People in expectation of the hard-core noir of his Brute Force, The Naked City, Thieves' Highway or Night and the City will have a surprise in store. Here, Dassin betrays his continental roots in fabricating a light if poignant romance between two con-artists. And though the movie has a noir veneer, it's less suggestive of Fritz Lang or Robert Siodmak than of Ernst Lubitch – specifically the Lubitch of Trouble in Paradise, another elegant romance sparked between larcenous lovers.

The pairing here is between Lucille Ball, on the lam from a job she pulled in Hot Springs, Arkansas, and John Hodiak, being escorted back from the west coast to finish a stint at Sing Sing by cop Lloyd Nolan. While trying to sabotage one another's swindles, Ball and Hodiak fall in love, and she joins him on his train journey to that castle on the Hudson. Also in play are half a million in bonds which are tucked away in a fancy cookbook (all ortolans and truffles) that Hodiak, a bit of a gourmet, keeps with him for bedside reading. And the wild card is nasty Elisha Cook, Jr., one of Ball's former partners in crime, who wants the bonds for himself.

Dassin keeps a delicate balance between the intrigue and the romance, but the romance wins out (and who's complaining). Hodiak takes to the lighter, more debonair style with greater conviction than he does the harder-boiled roles he played in Somewhere in the Night and Desert Fury that same year. Ball, in a role that is neither too broad (like The Fuller Brush Girl or Miss Grant Takes Richmond) nor too melodramatic (like The Big Street), delivers a subtle and winning performance – and she looks smashing.

For his finale, Dassin whisks us to New Orleans during Mardi Gras, granting Cook a flamboyant exit. It's a gaudy set-piece crowded with costumed revelers that raises the spirits before they grow subdued at the surprisingly bittersweet ending. If Two Smart People can be counted as part of the noir cycle (and it often is), it's possibly its most effervescent title. If not, who cares? It remains an offbeat delight all its own.

THREE SMART PEOPLE might be considered the low-point of Lucille Ball's career at MGM in the 1940's but it's still a quite good little tale and a rather unique cross between romance and crime drama. Lucy and John Hodiak are elegant con artists who find themselves battling for the same pigeon. There are romantic sparks immediately but a rival is a rival and they each deliberately ruin the other's con. When Lucy learns from old partner Elijah Cook Jr that Hodiak is carrying a hidden a half million in bonds, she ditches Cook and manages to find a spot on the cross-country train Hodiak is on heading toward New Orleans. Lucy is unaware though that Hodiak's traveling partner Lloyd Nolan is a cop escorting him on one last fun fling before Hodiak turns himself in for a prison stretch of at least five years.

This smooth pseudo-film noir is surprisingly agreeable. Essentially a three person picture (Ball, Hodiak, and Nolan) the only other part of any length is Cook's who surprisingly billed below both Hugo Haas and Lenore Ulric in roles that are basically bit parts. The movie looks great and it's no surprise Lucy later sought the cinematographer Karl Freund to helm I LOVE LUCY. She's a vision here, particularly in the Mardi Gras segment. The extended New Orleans sequence is the highlight of the film and director Jules Dassin and the production designers do a very fine job of capturing both the unique look of the city and Carnival season, complete with jazz for the background music. TWO SMART PEOPLE is a very enjoyable diversion with a nice performance by Lucy in an atypical role.

Oil paintings and oil wells. Ricki ( Lucy) and her friend "Ace" are somehow involved in selling things. John Hodiak is "Ace" Connors, and he and Ricki are trying to sell oil wells or paintings, but neither one seems to be authentic, so the buyers back out, and then there are the mysterious missing bonds. Elisha Cook is the dark horse "Feletti". It's all very 1940s noirish, with Lucy all dolled up in fancy costumes, and many things are only partially explained. They all meet on a train when Bob Simms (Lloyd Nolan), is bringing Connors in for justice. Simms tells Ricki why they are on the train, and tries to get her on his side. Then, they end up on the Mexican side of the border. Now, they are all at a Mardi Gras party. Wow, they sure have a lot of adventures for someone on their way to Sing Sing; it's all in good fun as we wait to see if Simms, Feletti, or someone else will find the stolen bonds. You have to really pay attention or you'll miss important details. It's more of a get-away adventure than a who-dunnit. It's okay, but not a lot of meat on the bones of this story. This was a couple years before I Love Lucy. They hardly ever show this one, but her best films were Long Long Trailer, Big Street, Fuller Brush Girl, and Meet the People. Hodiak had just done Hitchcock's Lifeboat, and Harvey Girls.

Directed by Jules Dassin, nominated for two Oscars for "Pote tin Kyriaki" 1960. He had also directed Rififi and Topkapi, and was harassed by the House Unamerican Activities Committee in the 1950s. Looks like this is the only time Dassin and Lucy worked on a project together.