Lo sparviero di Londra

As an user has pointed out,"lured" is the remake of Robert Siodmak's movie "Pièges" (1939) starring Marie Dea (Lucille Ball's part),Maurice Chevalier (Sanders' part) ,Erich Von Stroheim (Karloff's) and Pierre Renoir (Cedric Hardwicke's) Both versions are good.If ,like me,you've seen Siodmak's version first ,you'll probably find Sirk's work less interesting and vice versa . The differences between the treatments are minimal.

-George Sanders is a better choice than Maurice Chevalier ,cause we do believe he might be a serial killer,which is difficult with the French chanteur.

-On the other hand the scene featuring Boris Karloff is weaker than its French equivalent where Stroheim was more disturbing.

-In both movies,the weakest link is the part of the story where the heroine is a servant in a shady house.

I was 'lured' into this one by its cast - Lucille Ball in a dramatic role, opposite George Sanders, and with Charles Coburn and Boris Karloff in supporting roles. I wasn't disappointed. It's a nice mystery/drama where a serial killer in London finds his victims through personal ads, and then boasts about it to the police with poetry reminiscent of Charles Baudelaire. Ball plays an American working in a dancehall who begins working undercover for the police when one of her friends becomes a victim. That bit is a little contrived, but I liked her pluckiness and how she stands up to a variety of creepy male behavior (in the dancehall, various ogling, and with some of the men she meets via the personal ads). There are some standard tropes - Ball's extraordinary powers of observation, Coburn being the distinguished sleuth who engages in a cat and mouse game with the criminal, etc - but the script is intelligent and has some interesting turns. Just don't go into it with the expectation that it's film noir, and enjoy the performances.

The show closed after four days in London. Stranded Lucille Ball is working as a taxi dancer, hoping something will turn up. She's envious when the girl next to her tells her it's her last day; her tall, dark and handsome man is taking her away from all of this. The next day the newspapers announce it: she's the latest victim claimed by the Poet Killer, a serial killer who likes to send the police Baudelaire-inspired notes. Miss Ball goes to talk to Inspector Charles Coburn, who promptly hires her as bait.

Hunt Stromberg pulled out all the stops on his production: director Dirk Sirk, cameraman William Daniels, script credited to Leo Rosten, and a cast that includes George Sanders, Boris Karloff, Cedric Hardwicke, Alan Mowbray, Robert Coote... well, it was primed for success.

Mostly it's pretty good, with Miss Ball giving a varied and layered performance, and Sanders at his most charming. There are some issues with the show. As soon as he showed up on screen, I tagged the murderer. Miss Ball's engagement by the police as a decoy has too many details handwaved away, and she never gives the impression she feels herself at risk. That's what spike heels are for.

Still, the studio-bound movie shows its glitter on the screen, and in a theater in the dark, it should look like a fine couple of hours.

This excellent noir film was somewhat copied forty years later as "Sea of Love," with several changes bringing it up-to-date. One surprise in store for viewers is the comic talents of George Zucco, obviously kept hidden throughout most of his brilliant acting career. He is an excellent comedic sparring partner for Lucille Ball. They work well as a team, providing laughs that are sorely needed in an otherwise serious murder mystery thriller. Boris Karloff adds to the fun as well, giving a monster performance as an insane dress designer--can you believe? The stellar lineup also includes the likes of George Sanders, Charles Coburn, Cedric Hardwicke, and Alan Mowbray. The cast alone is worth the price of admission.

Directed with savvy by Douglas Sirk, the film has a script put together by a hodgepodge of writers. Still, the dialog is filled with witty and intelligent lines. The mystery will keep the viewer guessing until the serial killer is revealed. There are red herrings along the way to lead the best sleuth astray. Even when the movie seems to be ending with the mystery solved, it becomes the wrong solution to the case under investigation. The film proceeds to fool the viewer a second time before the ultimate meanie is apprehended. There are thrills aplenty throughout this delicious cinematic whodunit.

The story involves a serial killer running amok in London who kills beautiful young women lured by newspaper ads. The madman fancies himself a poet copying his style from the dark poetry of Charles Baudelaire, who once wrote about a tempting woman being more beautiful in death. One such poem is sent to Scotland Yard before each murder. Inspector Harley Temple (Coburn) is determined to catch the psycho any way possible, even using a young woman, Sandra Carpenter (Ball), as a decoy to lure the monster out into the open. Sandra is chosen when she inquires about her good friend's disappearance. Coincidentally, her friend's moniker is Lucy. In the process of finding the perpetrator of the crimes, Sandra makes several interesting encounters, eventually meeting a stranger named Robert Fleming (Sanders) with whom she falls in love. Their favorite song becomes "All For Love," which serves as a clue in the mystery.

An interesting curio for Lucille Ball fans as well as those who enjoy old horror and mystery films. This one is worth seeing for its cast alone, featuring (in addition to Ms. Ball): Boris Karloff, Sir Cecric Hardwicke, Alan Napier, George Zucco and George Sanders! This solid mystery/thriller stars Lucille Ball in a dramatic part before she became Lucy Ricardo. She plays a feisty American gal in England who is hired by Scotland Yard to go undercover to trap a serial killer who claimed one of her friends. Boris Karloff's role is a small one but it's absolutely wonderful, and it's an essential watch for the actors' legion of fans. George Zucco is a cop who keeps an eye out for Ball to make sure she doesn't get into too much trouble. *** out of ****