Il dilemma di Dick Tracy

Rather like the comic strip upon which this series of films were based, the villains are usually the most interesting. Crippled when a robbery went horribly wrong, the Claw is now as twisted in body as he is in mind. "You're a killer, Claw!" screams one of his fellow henchmen at him and he's got it spot on.

When the Claw isn't on screen, the film drops a notch as the good guys aren't that interesting and Tracy is just dull. Still, he gets the job done and the case is solved and the evil Claw meets a fitting end after a thrilling chase through a scrap yard.

Low budget and in black & white these films may be but with their short running time, they never outstay their welcome and are fast and entertaining. Something today's overblown two hour plus films could learn a thing or two from. Less is often more at certain times.

In case anyone is wondering, the above Summary quote is from the song, 'The Power of Love,' by Frankie Goes to Hollywood.

The third in RKO's short Dick Tracy series of movies from the '40s. This one features Ralph Byrd as Tracy. Byrd reprises his role from the Republic Dick Tracy serials he was famous for. Morgan Conway had played Tracy in the first two RKO films. I thought he was fine but admittedly Byrd is better. It's just a rare case of perfect casting as Byrd really does seem like Tracy physically. The plot to this film is about Tracy investigating a series of crimes, including murder, linked to The Claw. He's a villain that, you guessed it, has a metal claw in place of one of his hands. Fun, fast-paced detective story with more of the interesting characters I expect from a Dick Tracy story. In addition to the killer The Claw and my favorite Vitamin Flintheart (Ian Keith), there's a blind beggar appropriately named Sightless and a fence named Longshot Lillie. Fun stuff.

Originated by Chester Gould's syndicated comic strip, Dick Tracy has been a durable cinematic character with appearances ranging from 1930s serials to an over-hyped 1990 blockbuster-style motion picture starring Warren Beatty and Madonna--but the character's film appearances are perhaps most fondly recalled from the 1940s RKO Pictures series. Written with stacco dialogue and seldom running more than an hour, they were welcome "B" movies at almost every matinée.

Clocking in at exactly sixty minutes, DILEMMA plays out a fast clip. A fur heist and insurance scam turns deadly when a criminal employs "The Claw"--and not only does the movie rack up an impressive body count, it has considerably more suspense than the usual Dick Tracy flick. Ralph Byrd, who frequently played Dick Tracy, is quite good, but the edge of this film comes from the supporting cast: Jack Lambeth's the Claw is memorably dark; Ian Keith, a noted stage actor whose film credits include QUEEN Christina, scores as the comic Vitamin Flintheart; and Bernadene Hayes proves memorable in the brief role of Longshot Lillie. The cast is very nicely rounded out by Kay Christopher as a particularly appeal Tess Trueheart and such character actors as Lyle Latell, William B. Davidson, Tony Barrett, and Tom Keene.

High art it isn't, but DICK TRACY'S DILEMMA is fun in and of itself, fast moving, well acted, and well director by "B" movie workhorse John Rawlins. Certainly among the better outings for the famous character, it's very entertaining. Recommended for Dick Tracy fans everywhere.

Energetic little programmer in the Tracy series from RKO. Of course, the comic strip appeal came largely from the variety of human grotesques who challenged the square-jawed detective week after week. Here, Tracy battles "The Claw", Jack Lambert in excellent Neanderthal makeup with a claw where his hand ought to be. Something should be said in passing for director John Rawlins who had an obscure career, but still came up with the riveting and offbeat Rogue River (1950) as well as the superior B-Western Fort Defiance (1951). Note the fast-pacing and clever touches in this programmer, such as filming from behind the unplugged fan whose blades run down as Sightless (Jimmy Conlin) expires from The Claw.

There are a number of noir touches in the lighting and suspense, not surprising since the year is 1947. Also, catch the painting behind the bar. It's not in obvious focus, but there it is-- an almost totally nude woman up to something not quite clear. Now a saloon centerfold may be appropriate for a saloon, but in a kid's picture, it must have been someone's idea of a private joke. Be that as it may, Rawlins was an A-picture talent trapped in a B-movie career.

Byrd is excellent as Tracy. In fact the level of performances is better than expected for such a low budget. Speaking of budgets, note how much of the film appears shot from outside studio buildings with their rows of little windows (probably where the writers labored). Note too, how the final chase moves past a mock-up airplane and through what appears to be a prop storage area. Certainly, the cast didn't have to go on location for this one. All in all, it's a good, fast little 60 minutes of the Tracy series. And, oh yes, I don't know who played Tess Trueheart, but if I were the cop, I'd spend less time gum-shoeing and more time around the house.

RALPH BYRD takes over the Dick Tracy role with good results, looking more like the square-jawed comic book hero than Morgan Conway. He's on the trail of "The Claw" (played very effectively by JACK LAMBERT) and the film is chock full of many noir-like scenes involving "The Claw" and his pursuit of victims, who seems to enjoy using his hook to kill a few unlucky men.

IAN KEITH is back as Vitamin Flintheart, once again upstaging everyone with his theatrical flair for speeches and having a little more to do with the plot and KAY CHRISTOPHER fills in for Anne Jeffreys as Tess Trueheart.

But, in truth, Byrd is given little opportunity to show how well he was cast in the part since most of the crime drama involves the intriguing villain with the hook for a hand who drags his foot and walks the shadowy streets on his hunt for the kill.

Summing up: Good little crime drama about fur thieves proves that low-budget thrillers like this from RKO could be rewarding enough for noir fans.