Riffraff

One of the many felicities of Ted Tetzlaff's top-notch Riffraff, the cinematography of George Diskant can be best seen, unencumbered by dialogue, in the first few dazzling minutes. Torrential storms darken an airfield in Peru, where in the dead of night a cargo plane bearing two passengers departs for Panama; only one of them arrives. The opening previews Tetzlaff's pure-cinema approach; he lets the story unfold through images (and occasionally sounds) with a casual adroitness that remains striking more than half a century later.

At the center of the story is Pat O'Brien, a Canal Zone operative-for-hire. The surviving passenger engages him for protection, but doesn't survive for long. Then an oil company hires him to find a map, supposedly with the vanished man, of unclaimed oil fields in Peru. Walter Slezak wants it, too, but through strong-arm tactics. O'Brien, with the help of his driver Percy Kilbride and nightclub singer Anne Jeffreys, sets out in pursuit of the elusive document (which we know from almost the get-go hangs pinned to a screen in his room).

In retrospectives of film noir, Riffraff usually gets overlooked. While its genre is international intrigue and its touch on the light side, its conventions and, especially, its look, bring it to the fringes of the noir cycle. (And it's a better movie than two noirs released the same year which mine similar veins: Calcutta and Singapore.)

Bigger stars like Humphrey Bogart and Alan Ladd monopolized this tough-guy-in-ports-of-call genre, but O'Brien acquits himself honorably. Unfortunately, he was nearing 50 at the time, and his early-middle-age looks probably weren't what post-war audiences were looking for (Bogart, however, was exactly the same age). No matter: the real heroes of Riffraff are Tetzlaff and Diskant, who collaborated to make what Judith Crist used to call a `movie movie.'

In Panama, a private detective is hired to find a missing oil well map.

I expect this little gem got lost in the 1947 crowd. Too bad, because the opening scene is a wordless tour-de-force. Catch that ominous looking lizard in the first shot, indicating the sinister events to follow. Then there's the rainstorm that sounds like the sky is exploding around the airfield. And finally, scope out the open cargo hatch at 20,000 feet, where you see three people but no parachutes. It's a tough act to follow, and truth be told, the story then settles into an entertaining, if unremarkable, private-eye adventure.

Nonetheless, there are so many nice touches lifting the narrative—the lazy guard dog, the down-and-outers needing help, Pop's belching old cab. But most of all, there's the stylish visuals, courtesy director Tetzlaff and cameraman Diskant. The compositions are especially impressive since they're artistic without being showy. And, of course, there's the great RKO team of D'Agostino and Silvera collaborating on the noirish sets.

I also like O'Brien in the lead. He sure doesn't look like the standard Hollywood dick. He's about 20-years too old, 20-pounds too heavy, and more than a little balding. Still and all, he can fire off the tough-guy banter with the best and make you believe it. Of course, having the lovely Maxine (Jeffries) fall headlong for him remains something of a stretch, but that's just Hollywood being Hollywood.

Talk about hiding in plain sight-- the map trick has stayed with me over the years. Speaking of the unusual, catch that brawl at movie's end. One thing for sure, I want Jeffries in my corner from now on. She doesn't just stand around while the hero gets bashed, even when a tricky bookcase bounces back at her.

Anyhow, it's a really good little RKO programmer and a good reason to keep prospecting these unheralded oldies for their hidden gold.

Riffraff finds Pat O'Brien as Dan Hammer, hardboiled private eye, operating in the Canal Zone which when the USA was operating the Panama Canal had a kind of hybrid sovereignty between America and Panama. Of course other than an aerial shot at the beginning of the film, no one got closer to Panama than the backlot of RKO Studios.

I'm not sure if Mickey Spillane had already created his character of Mike Hammer, but O'Brien's portrayal sure could have been the model for it.

O'Brien is hired by someone to locate a missing map of some undiscovered South American oil fields. His client is later murdered and that starts the ball rolling.

A lot of the plot elements of Riffraff are found in that other private eye classic Murder, My Sweet and though Riffraff is entertaining, it doesn't hold a candle to that classic noir.

Anne Jeffreys does well as the singer/moll who actually proves to be quite a bit of help to him in that last encounter with the bad guys. Walter Slezak is as always one charming, but dangerous villain. Jerome Cowan does well as the feckless and luckless oil executive and the best performance in the supporting cast is that of Percy Kilbride as a laconic cabdriver.

In fact Percy's the one who gets the best of Slezak. You should see Riffraff just to see how he does it.

It seems that everyone in Panama has their eyes out for a missing map worth a fortune and P.I./con-man/fixer Dan Hammer (Pat O'Brien) is at the center of everything. Caught between the police, hoodlums, and gorgeous dame, Hammer's got his work cut out for him. But like everyone else, he has no idea where to find the map - even though it's hidden in plain sight.

What a nice surprise! Going in, I had no idea what to expect from Riffraff (or Riff-Raff or Riff Raff or however you want to spell it), but it's truly a wonderful little film. It's got a lot going for it. Frist, the cinematography is fantastic. Riffraff looks way better than its modest budget would suggest. Second, the acting is very strong. Overall, I'm not much of a Pat O'Brien fan, but here, he does a nice job. Anne Jefferys is more than his equal as the blonde love interest. Walter Slezak makes for the perfect heavy. And Percy Kilbride (of Ma and Pa Kettle fame) shines as the comic relief. Third, the direction is spot on. Director Ted Tetzlaff does a remarkable job with the film's nifty pacing. There are very few dull moments to slow things down. And that opening - wow! It must have been a gamble to film the first 10 or so minutes in silence, but it paid off. Finally, the writing is first rate. Riffraff has all that cool, fast-talking dialogue I've come to love in a film noir.

7/10

Who does not love a good suspense/mystery? I for one really enjoy a good film noir especially when the opening sequence captures an audience's attention within the first five minutes without even uttering a single word. This is a film that you cannot leave the room for even a minute because if you do, you will certainly miss a key piece of this films centerpiece, which is a map containing the location of dozens of untapped oil fields worth millions of dollars.

There are plenty of evil doers trying to pull a fast one on each other in the hopes of netting themselves the one map that holds the locations of dozens of oil fields. But as tough guy detective Dan Hammer (Pat O-Brien) soon finds out while trying to protect a client of his named Hasso (Marc Krah) who happens to be a murderer himself from his other enemies one of which named Walter Gredson (Jerome Cowan) also pays Hammer to locate the map before anyone else can get their hands on it.

This is a cat and mouse game that also includes a gorgeous cabaret singer named Maxine (Anne Jeffreys) who is working incognito for her so called fiance Walter Gredson, but soon falls head over heels for the smooth talking, hard swinging detective Dan Hammer.

Besides the cat and mouse game I was impressed by Hammer's guard dog who always laid directly in front of Hammer's office doorway but yet the bad guys were neither intimidated by Hammer's dog, nor was Hammer ever forewarned by either a growl, bark or nary a whimper that there is trouble approaching Hammer's doorway. Some guard dog eh? He was adorable and this picture with its mystery and cinematography that reminded me of the next years more successful film (1948) Key Largo is well worth watching.

I give Riff Raff seven (7) woofs-woofs, its "howling" good action and mystery to keep you entertained