Fear

The dream (or nightmare) structure was a staple of the noir cycle; The Woman in the Window, Fear in the Night, and its remake Nightmare were some of the films that employed this device. Far from a cop-out, it was a way of packaging a rather subtle psychological insight: that our dreams expressed our conflicts between our superegos and our ids. (In a later film with noirish roots, Brian De Palma's Body Double, the "story" of the movie similarly sketched the protagonist's worst self-estimation, triggered by a claustrophobic episode.)

In Fear, a medical student (Peter Cookson) is on the brink of abandoning school because his money has run out; in frustration, he murders a professor who moonlights as a pawnbroker. Questioned by the police, he ill-advisedly spouts warmed-over Nietzsche like the effete killers in Hitchcock's Rope. Then, out of the blue, a scholarly periodical to which he submitted an article sends him a check for $1000 (!) -- the most implausible occurrence in the entire noir cyle. He grows more reckless, and suspicion continues to grow....

Fear was a low-budget Monogram programmer (clocking in at just over an hour) but looks a lot better, angled and shadowed like more lavish productions. It won't satisfy the literal-minded, but it's a decent enough way to while away a dark hour.

The programmer's a compelling noir except for the Production Code's required Hollywood ending. Up to that end point, however, the narrative amounts to a dark look into the ravages of psychological guilt. Larry's got a promising future as a med-student, but he also can't make tuition for his final school year. Dead broke, he's about to get tossed out of his fleabag apartment for non-payment. Desperate, Larry feels driven to murdering his pawn-brokering professor for the cash box riches he's hidden. Trouble is Larry's haunted by his crime, especially when fate delivers an unexpected publisher's check for an article he's written. Had he waited just one more day, he wouldn't have needed to murder for money. How cruel is fate and how relentless now are the cops.

Actor Cookson as Larry delivers an appropriately grim facade up to the end. To me, he, is an unknown performer, but subtly effective in the conflicted role. At the same time, there's something about him reminiscent of a sinister Tony Perkins. And how about the luscious Anne Gwynne. Her available presence makes his predicament that much worse. Then too, there's the magisterial Warren William as the head cop, taking a break from his ruthless pre-Code businessmen, e.g. Employee's Entrance (1933).

There're also some unsettling touches-- the onrushing train that crushes us all, the magic act that beheads without showing us recovery, the ominous black cat that awaits poor Larry. These are just some of the imaginative touches leading us to a bleak world where anything might happen.

Anyway, the programmer may be an atmospheric cheapo, but had the producers been able to complete the tale without the cop-out ending, it would also rise way above that meager status. So, when you see Larry cross the street at the near end, reach for the off-button. It's worth it.

Peter Cookson is a medical student who receives the bad news that the medical college he is attending is no longer able to afford to grant scholarships. His future becomes suddenly darker as he's faced with having to drop out with only one year to go. How this bad news affects his psyche is more or less what the film is about in a post-war 1940's era take on psychology and dreams. It seems to revolve around a sense of alienation portrayed through a surprisingly riveting dream sequence that occurs on a dark night on the railroad tracks. In spite of its meager budget this movie succeeds in rating fairly high up on the standards of my film scale.

Peter Cookson (Larry) is a student who needs money – his college fees and rent need paying and he can't do it. He goes to College Professor Francis Pierlot (Prof Stanley) who moonlights as a loan shark to help him out. Pierlot keeps all his money in his apartment in a safe and he's also a pretty unpleasant character. Is he unpleasant enough to be murdered? Yeah, probably…….but will his attacker get away with things…

This film zips along and keeps us watching as to whether a crime will go unpunished and things are done in a suspenseful manner. Unfortunately, the ending doesn't quite live up to expectations so view this film as a bit of fun. You'll see what I mean.

Extremely Low-Budget Film-Noir that manages to entertain due to a strong Storyline (cribbed from Dostoevsky's Crime and Punishment) and some nifty Camera Work and a creative overall Style. What it lacks in slickness it makes up for in Mood and some expressionistic flourishes.

There is a rather tacked-on, weak ending that is a misstep of the first order, but that disappointment aside, this is one of the better attempts at Bargin Bin Noir. There is a sombre and fatalistic tone throughout and there is much more Psychology found here than in most Bottom Rung Programmers. There is a good deal of Cat and Mouse and a lot of Soul Searching.

Despite its restrictions, this can entertain at a deeper level than a lot of Major Studio B-Movies. In fact it is downright amazing how well it works its Magic through tone, style, and execution. This is not to be missed by Fans of Low-Budget Noir's.