I misteri di Hollywood

My position is exactly the same as that of bsnmsn. I saw this on "The Late Show" (for me, a locally-operated movie slot following the post-prime time news), where I saw numerous great, old films. Then, years later I learned about the William Desmond Taylor murder and recognized the parallels to this movie. Just couldn't be coincidence. I think I've seen "Hollywood Story" once since then, either on local TV in the late 70s to early 80s, or on a cable channel (TBS, WGN, WOR) in the early 80s. I keep scouring the listings of Turner Classic Movies for it, but so far no luck. BTW, I gave it a 7 out of 10, dropping a little because I remember it as looking somewhat low-budget; it IS an early William Castle effort.

This movie is a double tribute to the old silent Hollywood era. First because the topic is a mystery oriented scheme and looks very like many late twenties and early thirties movies. There were many mystery tales during this period, the early talkies. The second element that makes me say this film is a tribute to the old Hollywood is the topic itself, concerning a crime commited in 1929 when the movie takes place in the fifties. You see the old shooting lots, old stars such as William Farnum and a couple of other silent era stars as cameo appearances. This kind of movie in the early fifties is rare,but in the seventies, there were some TV movies also evoking old stars in the SUNSET BOULEVARD scheme, and unsolved murder mysteries. A good unusual and brilliant topic for an Universal Studios production, with for once Richard Conte in a non gangster nor hard tough cop role.

Supposedly based on a real unsolved Hollywood murder, Hollywood Story tells the story of film director Larry O'Brien (Richard Conte), who's leases on old, abandoned studio for his next movie. The studio was the scene of an unsolved murder and O'Brien decides the story would make a good film. As he starts poking around and asking questions about the murder, it becomes apparent that someone doesn't want the film made. After a couple of attempts on his life, O'Brien realizes that he's on the right track to actually unmasking a killer.

Overall, I found Hollywood Story to be an entertaining film with an interesting plot, good acting, and nice production values. More of a mystery than a true film noir, there are plenty of plot twists to keep things interesting throughout the 77 minute runtime. The "old" Hollywood locations are a nice touch and add to the film's authentic feel. As expected, Richard Conte is rock solid in the lead. It was great seeing him play the good guy for a change. It was also nice seeing Julie Adams in a film where she's not being stalked underwater. As much as I love her in Creature from the Black Lagoon, it's odd I can't remember seeing Adams in much else. The supporting cast (Jim Backus, Richard Egan, Fred Clark) add a lot to the experience. And special mention to the cast, particularly cinematographer Carl Guthrie. I'm starting to sound like a broken record, but these Universal films from the 1940s look so good. Absolutely beautiful.

Finally, I need to mention director William Castle. Until just recently, I only knew Castle from his 1960s era horror output. I really enjoy many of these movies like House on Haunted Hill, Homicidal, and I Saw What You Did. But, as I'm learning after watching Hollywood Story and Undertow, there's so much more to Castle than I imagined. He made a load of films prior to the 60s just waiting for me to discover. How fun is that!

7/10.

This is another film I think is incorrectly billed by YouTube as a film noir. In fact it's an intriguing, well-made mystery, made by William Castle in the first phase of his career. From 1943 to 1956 he made a string of B movies: having seen this one and "When Strangers Meet" (1944, with a young Robert Mitchum) I'm keen to see more. After a couple of years in TV Castle made "Macabre", the first of the horror films which he advertised using outlandish marketing techniques, and it's for these, and his producing of "Rosemary's Baby" that he's best known.

"Hollywood Story" was made the year after "Sunset Boulevard", which had revived interest in the silent era. While Gloria Swanson and von Stroheim had leading roles in "Sunset" the old stars who appeared in "Story" (I confess I'd only heard of Francis X. Bushman) had the briefest of walk-ons, as themselves. While the screenwriter in "Sunset" was handsome young William Holden, the one in "Story" is played by Henry Hull as a drunken wreck, living in squalor, who hasn't written a film since the coming of sound, so has never written dialogue, which makes you wonder why the hero hired him. Fred Clark, BTW, was in both films, and Swanson's character was called Norma Desmond, combining the names of silent movie director William Desmond Taylor and his lover Mabel Normand, one of several people suspected of his murder in 1922, which remains unsolved to this day.

Independent producer Larry O'Brien arrives to make his first Hollywood film and on a tour of the old studio he plans to use becomes fascinated by the story of the murder of a silent movie director called Franklin Farrara who was killed in a bungalow on the lot. He wants to film the story, but to do that he must solve the mystery. People try to dissuade him, including one who takes a shot at him. Richard Conte may be ethnically incorrect casting as Larry O'Brien (Edmond O'Brien, also big in 1951, would have been more appropriate) but he makes a very personable hero, and Richard Egan is wonderfully laid-back as a sympathetic cop: in those days actors playing cops worked hard at being tough and unsmiling. There's admirable support from Clark, Hull, Jim Backus and Houseley Stevenson, and the photography is excellent.

All in all a most enjoyable film. A bit naughty, though, to pretend that the fictional Farrara directed the 1925 Lon Chaney "Phantom of the Opera" and that the heroine's mum was Chaney's co-star. Still, Rupert Julian was dead and Nora Philbin had been a recluse ever since the coming of sound and probably never saw "Hollywood Story."

Producer Richard Conte comes to Hollywood to make his next picture. While he's figuring out a subject, he rents an old studio. The guard tells him about a director murdered at the dawn of sound, still unsolved. Conte decides that will make a terrific picture. High school friend and now Hollywood agent Jim Backus hates the idea, as does Conte's partner Fred Clark. Julia Adams, the daughter of a movie star with whom the dead man was linked, asks him to drop it. Even police detective Richard Egan comes by to quiz Conte and tell him it's a terrible idea. conte persists, even hiring the dead director's washed-up screenwriter, Henry Hull. Then there is another murder...

It's a canny, nostalgic movie directed by William Castle, who knows how to evoke old Hollywood without getting trapped in antiques. The studio that Conte rents is Chaplin's studio, and there cameos for a Betty Blythe, a Francis X. Bushman, and William Farnum. The mystery, although far from the William Desmond Taylor murder that inspired it, is nicely constructed, with some decent red herrings. It's a fine example of the unassuming picture that does everything you so right that that it becomes a minor masterpiece.