I Love Trouble

I was interested in seeing this after just reading and reviewing the novel on Amazon. A pretty good adaptation, containing scenes and dialogue lifted directly from Huggins' novel. The story has been speeded up and abbreviated, and some of the names have been changed, but if you liked the novel you'll like the movie. Probably one of a million in 1948, but well worth watching for now because of Franchot Tone, the smarty pants Glenda Farrell (The Mystery Of The Wax Museum, Torchy Blaine), and early roles by Raymond Burr (Perry Mason), John Ireland (any number of John Wayne movies).and the prolific character actor Arthur Space. This convoluted movie and the novel were written by the great Roy Huggins (The Fugitive, Rockford Files, and 77 Sunset Strip, which was based on this movie and his novel), and directed by S. Sylvan Simon who died at age forty-two soon after this was released. For those who want to look up the novel, the ending is identical. Enjoy, enjoy.

Roy Huggins who later wrote and produced and gained a big reputation on the small screen for quality, wrote the mystery novel on which this film is based. I Love Trouble clearly shows the influence of Dashiell Hammett and Raymond Chandler in both plot and characters.

Franchot Tone is our protagonist private eye Stu Bailey, a character name that would recur again on the big and small screen. Tom Powers hires him to find his missing wife. On the trail he's aided and abetted by his loyal girl Friday Glenda Farrell who is the most memorable character in the film in a movie chock full of good character performances.

A lot of people are interested in this woman including millionaire wife Janis Carter, her 'sister' Janet Blair, sleazy nightclub owner Steven Geray and his henchmen who include John Ireland and Raymond Burr. They're a memorable bunch, but almost as memorable as Farrell are spoiled wife Adele Jergens who makes a big play for Tone and nightclub comic Sid Tomack who is not above a little information peddling on the side that costs him dear.

I'm surprised Tone did not do more roles like this. He certainly displayed the proper and expected laconic behavior for a private detective. It was that typecasting he could never get away from. The studio brass wanted him in formal evening wear dispensing bon mots and generally losing the girl in A films to the likes of Clark Gable at his first studio MGM.

I Love Trouble is not anything like the Julia Roberts/Nick Nolte film of more recent vintage. Instead it's a nifty noir mystery from Columbia. In fact it's really two mysteries that sort of get jumbled together in Tone's investigation. Hopefully that whets your appetite to see it.

A new print of "I Love Trouble" was just screened last night (1/31/07) at Noir City 5, San Francisco's noted film noir festival. (http://noircity.com)

In short, it was amazing. Roy Huggins was very heavily influenced by Dashiell Hammett, but let me tell you he could go toe to toe with the best Hammett had to offer. Every scene was filled with killer lines, right up to the last line of the film (Girl who wants to kiss the protagonist: "I didn't know there'd be a line." Girl who's kissing him: "Honey, this is the end of the line.") Franchot Tone is perfect as the suave but funny private dick who always has a wisecrack, thinks on his feet, and one heck of a set of...nerves.

This is a must-see for any film noir aficionado. Alas, it's not yet on DVD and was never on VHS; if you see it coming on cable, Tivo it, tape it, miss work, skip your vacation, stand up your date, do what it takes as long as you DON'T MISS THIS GEM.

JL

Ok film noir that has a plot similar to that of dozens of other noir and B detective pictures: private eye is hired to find a dame and twists ensue. There's nothing inherently wrong with this movie. It's actually pretty solid. But it's very familiar territory and the script isn't as snappy as I would like. Franchot Tone is also a bit flat. I doubt it would be a blip on anyone's radar if not for it apparently being considered lost for decades. Amusingly this was written by Roy Huggins, the creator of TV shows like Maverick and The Fugitive. He would use the character played by Tone to greater success later in 77 Sunset Strip.

A detective is hired to investigate the real identity of client's wife, leading him into a tangled thicket of leads.

So where is Janie Joy. Detective Bailey's having a heckuva time finding out, what with all those luscious ladies parading in and out—not that I'm complaining. But the sorting process does get difficult at times. This is a detective story, and not classic noir, more like Philo Vance than Phillip Marlowe. LA-area locations are emphasized rather than light and shadow. But it is a good look at post-war LA, including the photogenic Buster Buffin's Buffett.

As the detective, the slender Tone brings a different kind of appeal. Wisely, the screenplay emphasizes his verbal skills rather than tough-guy brawn. In fact, he almost gets shoved around enough to embarrass fall-guy Elisha Cook Jr. Still, Tone does have a ready smile and easy charm. But that's also a problem for the movie. In short, characters and events lack the kind of grit needed to generate needed menace. Sure, there is a guessing game as to where Janie Joy is, but it's more like a brain-teaser than a fear factor. Plus, screenwriter Huggins clearly knows his way around wisecracks and clever banter. Yet the story's architecture remains murky and plodding. All in all, this is a movie of individual scenes rather than memorable whole.

Nonetheless, it's a good chance to ogle the ladies and their 40's fashions, along with Detroit's four-wheel designs, post-war, that is.