Ancora sei ore di vita

This first third of this film is a political thriller/romance that anticipates some of Alfred Hitchcock's work. The second third switches gears to a mad scientist/sci-fi mode, with the requisite flashing lights and bolts of electricity that may have excited audiences in 1931 but may seem cliched and overlong to today's crowd. Then it switches gears again and the final third is basically a commercial for religion. This is great if you believe that what we do in our actual lives doesn't matter because things will be so much nicer after we're dead. Some might say that a work of fiction does not count as evidence of a theory but some people feel differently.

So if this last part reaffirms your beliefs, you're likely to be charmed and delighted. If it doesn't you may feel you're being subjected to a long and unasked-for sermon. But even then you might find it an interesting curiosity, and it's certainly well acted and directed despite moments of overly stage-y dialogue.

"6 Hours To Live" has a terrific, original premise which borrows elements from the previous year's "Frankenstein" but also predates "D. O. A" by almost 20 years (!): scientist brings murdered man back to life, but he is still doomed: he has only six hours to live, in which time he must find his own murderer. It's not as exciting as it might have been, but it does try to dabble in several different fields: political drama, romantic melodrama, sci-fi, murder mystery (the least satisfying part), existentialism, religious parable, etc. It's an ambitious B-movie. The final shot is great. **1/2 out of 4.

Fox Films and also William Dieterle films are so inconsistent that they can either be awesome or awful..... this falls into the awful category. Plot, script and acting all complete to be the film's worst aspect.

The winner is however the plot - it sounds intriguing but its execution is dismally disappointing. The premise of someone coming back to life to catch their killer could be - and subsequently has been, a really exciting plot device but not in here! I thought at first the reason this seemed so dreadful was because we've all seen it done better elsewhere but decided that's not why - it's dreadful just because it's dreadful.

The story begins with some grand international trade conference to combat the world depression which Warner Baxter wants to veto. We don't know why he's literally the only man in the world who wants to stop this, or why only he knows best. He's also involved in the dullest relationship with the dullest woman in the world which you couldn't care less about.

After he's assassinated and brought back to life the picture changes from dull to faux-religious (and also suddenly develops a score). As Mr Baxter benevolently walks through the town giving money to the poor and reforming prostitutes like Jesus in a tuxedo, the whole tone of the picture changes to a preachy 'God is good, science is bad' kind of thing. He's been to heaven so now walks in the path of light but it's all so vague, weak and wishy-washy that it just doesn't work. Considering how 'talky' this is, it says very little. It's got no real message like in FRANKENSTEIN or even the weird GABRIEL OVEF THE WHITEHOUSE from 1933 which successfully did put over a moralistic narrative.

Even when it should be at its most exciting Mr Dieterle creates no tension at all. He is usually excellent at bringing his characters to life but in this he seems barely able to get half of them to act like actual people. Only Warner Baxter seems real, the rest are lifeless and lack depth of personality. It does however look good and is well photographed and on that aspect alone, William Dieterle's artistry is still evident....but that's not enough.

This team of artists and professionals should have made this so much better but as it stands it's endurance rather than entertainment.

Movies this good shouldn't be so rare. Warner Baxter plays a slain diplomat who is bought back to life via a scientific experiment. Trouble is, he only has six hours before the effects wears off, and he's dead for good. In that time he searches for his killer. Eerie, slow film has the feel of "Dracula" (1931). Also, a neat peek at world politics well before WW2 and the UN. Best moment: Scene where Baxter spends time with troubled prostitute at "Carnival Of Venus". Director William Dieterle's misty, creepy visuals makes up for sometimes gabby script.

Although the credits acknowledge an original story by Gordon Morris & Morton Barteau called 'Auf Wiedersehen', the footsteps in which this film seems most strongly to be following is David Belasco's hit Broadway fantasy of 1911, 'The Return of Peter Grimm' (filmed twice in the silent era and again in 1935 with Lionel Barrymore); especially as screenwriter Bradley Page had also scripted the 1926 version with Alec B. Francis directed by Victor Schertzinger.

Despite the hourglass & pendulum accompanying the opening titles, the talky plot belies the race against the clock suggested by the title, and a religious element increasingly intrudes as the film progresses. It is vaguely implied that Warner Baxter has now seen the afterlife, from which he has returned temporarily with clairvoyant powers (since he knows in advance why John Boles arrives late) and a new-found belief in God.