The Last Crooked Mile

...It has more plot holes than a piece of Swiss cheese.

The film opens on a bank robbery and a shoot out between the robbers and bank guards. The gang took three hundred thousand dollars whose serial numbers were not listed, so there is no way to trace the stolen money.

The gang has thought of everything - they switch cars, hide the loot in an unusual place on the new car, and take off. But the bank president mentions something unusual about one of the robbers - he has polished well manicured nails - and this gets them caught in the road block, causes them to shoot it out with the police, and the car crashes down a ravine killing all inside. So the entire Jarvis gang is dead, and where the money is dies with them. Enter detective Tom Dwyer (Don Red Barry) who offers to find the loot for the 10% reward.

Now Barry makes an interesting crime picture protagonist. He looks somewhat like a cross between Chester Morris and Don Rickles, if you can conceive of such a thing, doing his best James Cagney while smiling like the Joker. He comes across a carnival museum making a show out of the Jarvis getaway car, there are always two hoods hanging around, a dead man shows up in a rollercoaster who wasn't there when the ride started, and then there is Detour's Ann Savage who belts a few tunes at the local club.

There are people being shadowed, an attempt to gun down Barry on the streets, and two attempts to run over Ann Savage with a car, and this is the first time I've ever seen a private investigator with a welding certificate before. Maybe he learned it during the war?

Not to spoil anything for you, but the entire heist and who winds up being responsible for various crimes and the twists and turns in the plot that are revealed are convoluted and at worst just incoherent. But it keeps moving, has great dialogue and atmosphere, and it keeps you guessing because who would ever determine the crazy actual denouement?

This rare crime film from 1940s Republic Pictures is worth your time. Just don't think too hard.

After a bank robbery, $300k goes missing when the robbers are caught. A wise cracking PI inserts himself in the hunt for the money and, along the way, he finds dames, carnies, and conspiracies.

This was oddly a more light hearted noir since the PI and all other men in this movie are constantly spitting flirty one liners at every woman within reach. It hit all the tropes, but wasn't much more than a light entertainment of a B noir. My favorite scene was the projection screen roller coaster that looked pretty good for a very low budget special effect 🎢.

Watched on YouTube.

Ann Savage will forever be known as the vulturous woman in Ulmer's masterpiece DETOUR. Alas, many other films in her career have not had comparable longevity. This little programmer is one of the many forgotten little baubles that used to dot TV land back in the days before all those rotten Infomercials took over late night viewing. Despite the superb cast of B movie stalwarts, this generic little programmer is nonetheless noteworthy for trying to cram a lot of plot in the confines of an hour, so much so that it appears incoherent. It tries to do everything and ends up not doing much of anything. It's diverting enough because of the haywire plot; you never know where this is going. But see it for Ann Savage.

A bank robbery of $300,000 is a success, but all three robbers are killed in a car crash. And no one can find the money.

Private eye Tom Dwyer (Donald Barry, Republic's answer to Jimmy Cagney) inserts himself into the investigation mainly because the reward is 10% of the money.

The first order of business is to find the car, which is now an exhibit at an amusement park. Dwyer learns there has been some interest in purchasing the car. It seems evident that they think the money is somewhere, maybe not in the car, but as part of the car.

Eventually he meets a nightclub singer, played by Ann Savage. He asks for her help. Meanwhile, bodies keep showing up.

There were some interesting camera shots in this film, and the roller coaster scene was amazing, even though it's an obvious process shot. The dialogue is fast and somewhat suggestive in parts. There is some nice editing as well.

Barry's acting is very pleasant; I understand he was impossible to work with. It's too bad. Besides Savage, look for Sheldon Leonard, Irving Bacon, and Tom Dugan in smaller roles. Adele Mara is good as the woman constantly being stood up by Dwyer. Savage uplifts the entire film - great presence.

This nifty, fast-paced B mystery, based on a radio play (as were many superior second features of the time) is a nice surprise from Republic Studios. It features original situations and plenty of fancy patter, some of it slightly risqué for the time (obviously, the production code mavens were more diligent in scrutinizing the A product than these minor programmers). Lightweight leading man Don "Red" Barry, with the wavy hair and tenor voice, gives as good as he takes (he also sports one of the most outrageous wide ties in memory), and B movie icon Ann Savage has a sizable role as a slinky cabaret singer who may know more than she lets on. Connoisseurs will appreciate the parade of offbeat character turns by vets like Irving Bacon, Sheldon Leonard, and especially Tom Dugan in a little deadpan bit as a sarcastic souvenir salesman. The photography is suitably shadowy, the carnival background sleazy, and there are some clever editing tricks. Obscure director Phil Ford, who was John Ford's nephew (and Francis Ford's son), certainly takes advantage of his studio's affinity for serials, emphasising reckless car chases and a wild ride aboard a roller-coaster. (By the way, reliable historian Tom Weaver claims that Phil was often more interesting than both John and Francis!) If you like this one, try the similar No Hands on the Clock from Paramount's splendid B-movie mill.