Please Murder Me!

It's a pity this little (apparently independent?) film noir has not merited a decent restoration and DVD reissue (no one apparently bothered to renew the copyright so scratchy prints were out for a while in 1995 on VHS on "Nostalgia Family Video" and it has been anthologized in a DVD box of "13 Murder Movies"), because the elements in the film are considerably above the "B" film it's usually assumed to be and later work of those involved would be undeniably important. It isn't a great film, but given those elements, it certainly is an interesting one.

The basic flashback form of the story telling is an echo almost too close for comfort of 1944's classic DOUBLE INDEMNITY - with the characters dictating the explanation bound for similar fates; in fact, in the film's chief failing, the original ad campaign for PLEASE MURDER ME! gave away virtually every aspect of the plot, leaving audiences only the enjoyment of *how* the characters got where they had been told the characters were going. There were no surprises.

Top billed (her first role in that position?) Angela Lansbury was in the middle of a long and (mostly) distinguished movie career mainly playing "bad girls" - years before her Broadway and television career nearly eclipsed her earlier 100+ films - except perhaps for her definitive evil mother in MANCHURIAN CANDIDATE. She appeared to be taking a break from small but important roles in major studio films to see if she could carry a lead herself in this independent. PLEASE MURDER ME! didn't get her major studio leads, but her supporting roles in everything from THE RELUCTANT DEBUTANTE to BLUE HAWAII continued to be either out of the top drawer or she made them seem they were until she decamped for Broadway and the lead in the musical MAME which forever changed HER career.

Third billed Dick Foran had had the lead in a wartime revival of Rogers & Hart's A CONNECTICUT YANKEE on Broadway, but had mostly switched over from Hollywood roles in minor films to TV work by this shot at an important role in PLEASE MURDER ME!, but it was RAYMOND BURR, perennial film heavy (his greatest movie role was almost certainly the husband across the way in Hitchcock's REAR WINDOW two years before, who was also working more and more in TV who really made PLEASE MURDER ME! memorable.

It is almost certain that it was this role which got Burr his big shot as TV's PERRY MASON the next year. It may even have been a knowing tryout. He was nothing like the 1930's movie Perry Mason, the suave if slightly oily Warren William who was closer to the Perry Mason which Erle Stanley Gardner actually wrote, but watch Burr playing attorney Craig Carlson in PLEASE MURDER ME! It's the full blown Mason 20+ years of TV viewers would get to know intimately. All the mannerisms and line readings are there. Rather than the stock "heavy" which had been Burr's trademark, this was a persona of warmth and trust that anchors the film and makes the slightly strained story believable.

One can only hope that one of the ongoing DVD issues of PERRY MASON TV seasons will eventually pick up the public domain PLEASE MURDER ME! as a "bonus" feature - despite Attorney Carlson's position at the final fade out, it clearly belongs as part of the Burr/Mason canon.

In the mean time, I'm glad IMDb provides links to the film on the "Internet Archive" for those who can't find one of the PD releases. It's worth a look.

Fascinating.

A wife kills her husband, while she carries on an affair with his best friend who also happens to be a defense attorney.

Inexpensive little programmer that would work just as well as a movie made for TV. Still it has a good tight script, with a few twists, and two fine actors. It's Raymond Burr a year before Perry Mason and I expect his courtroom scenes here did a lot to win him the lead in Mason. He carries them off with real authority. Then there's Lansbury as the calculating ice queen, and I stopped counting her smiles after one. She does make a convincing spider woman, however.

There's little action, while the courtroom scene takes up a lot of time. Still the plot line is an interesting one of intrigue and misdirection. So there are compensations to the talky format. One does have to wonder, however, about attorney Carlson's (Burr) iron sense of retribution. It appears a key plot contrivance, but an interesting one given the circumstances of his guilt. Should mention, at the same time, the presence of the great John Dehner in the key supporting role of county DA. His is a familiar face from that time, and I don't think he ever turned in a second-rate performance, no matter the role. Anyway, it's highly obscure little movie, but not without compensations.

A mysterious stranger walks the seedy streets of a big city in a trench coat with the brim of his hat down low. The stranger stops in front of a business that -literally- has a PILE OF GUNS in the window display case and purchases a weapon. The opening credits explode onto the screen like gunshots as we see a close-up of the stranger loading bullets into the gun. Then the stranger goes into his dark office, sits at his desk, and records this story on a reel-to-reel tape recorder ...

"In exactly 55 minutes I will be dead!"

That stranger is Craig Carlson (Raymond Burr), Attorney at Law.

Then the Flashback: Craig is a very close friend to Joe Leeds (Dick Foran). They were war buddies, and after 15 years of friendship Craig must break the news to Joe that he is in love with his wife Myra (Angela Lansbury). Joe takes the news surprisingly well and tells Craig that he needs some time to sort things out in his head about how to move forward. Craig sees Myra later that evening and confesses what he did.

Then we see Joe arrive home to find Myra in bed reading a book. He enters, the door shuts, and we hear a gunshot! Myra is arrested for murder!

A good chunk of the film is about the court case. Naturally, Craig is Myra's lawyer and she is acquitted. The jury bought the idea that she shot her husband in self-defense.

Now that Myra and Craig are free to spend their lives together, Myra becomes curiously distant, and Craig discovers that Myra has a special friend ... the artist Carl Holt. So, maybe she was really guilty as charged and Craig saved her from the slammer?

Since Myra can't be tried twice for the same crime Craig hatches an elaborate plan to bring her to justice. And it's an unusual plan that he knows will end with his death.

This is a fairly good 50's Noir with an interesting ending.

Recommended!

Don't know where this picture originated. There is no studio at the beginning of the credits and it doesn't look like a TV production, although several of the players went on to successful careers in Television. Besides Burr and Lansbury, John Dehner and Denver Pyle did lots of TV work on many different shows. It also May have been a 'B' from an obscure studio and played with a weak 'A' picture.

In any case, the end result is a watchable film well-acted by some old pros and without any outlandish plot device acting as a Deus Ex Machina - surprisingly well-written. The engrossing storyline makes up for some dead time in the middle. Not a bad effort all around.

The story is told in recorded flashback a la Double Indemnity.

Raymond Burr plays a lawyer who defends his lover who has been accused of murder.

Burr brings looming veritas to the role.

Angela Lansbury plays the lover with restrained evil.

The court room sequence is very good. Perhaps Raymond Burr is practicing for his later role as Perry Mason.

John Dehner puts in a good performance as the prosecuting counsel.

The climax is a stunner.

Although it seems a cheap production, the camera work and lighting are effective.

The background music, though not outstanding, supports the action and atmosphere.