Névoa do Mistério

LOVE the butt-snapping game the reporters play at the city desk of the newspaper. That scene was a little risqué for its time, but the Hayes Code hadn't quite kicked in yet. It's a possible kidnapping of a rich, scheming socialite Arlene Bradford (Bette Davis). William Demarest is the reporter "Spike" who gets the call to check out the story. It's a Warner shortie, at 68 minutes, and just one of the four films Davis made with director William Dieterle in the 1930s. Margaret Lindsay and Donald Woods co-star. Alan Hale Sr. is Chief O'Malley, of course. No movie could be made in the 1930s or 1940s without Hale. Regular TCM viewers will also recognize Douglass Dumbrille as "Josh Maynard"; Dumbrille had made "A Day a the Races" and "The Big Store" with the Marx Brothers. Gordon Westcott plays Joe Bello, and in real life, Westcott died at 32 in a weird polo accident. The newspaper dudes and photographers are all over this story, so apparently being followed by the news hounds is nothing new... Arlene's dad is played by Arthur Byron, and he died only a couple years after making this. Some GREAT scenery of foggy San Francisco. The story moves pretty quickly, so pay attention! The sound and photography are a little shaky, but it does show on Turner Classic Movies now & then. A Fun, quick paced film, even if Bette Davis doesn't appear in much of the film! /ksf-2

Considering the reputations and historicity of Bette Davis and Michael Curtiz, why hasn't anyone issued this marvelously little fast-paced film on video? Davis is lightning-sharp as wicked Arlene, and Margaret Lindsay was an interesting early Warners player. I understand that Jack Warner, in the early days of the talkies, used this film to demonstrate what a director could accomplish with a tight budget and filmic expertise.

Have been through a lot of completest quests recently, most of them yet to be completed. One of those completest was to see all the films not yet seen of the films featuring and especially starring Bette Davis. Whether from early in her career when she was finding her footing, from the late-30s through to the 50s when she had found her style or from her twilight years. William Dieterle also did a fair share of films worthy of admiration and more.

Dieterle did do much better films in his career, epecially 'The Hunchback of Notre Dame' (one of the best versions), his Paul Muni collaborations and from memory 'Duel in the Sun'. 'Jewel Robbery' also is a gem worthy of more attention. Davis definitely did as well, too many to list being such a great actress who never phoned in regardless of what she was given and many of her films were good to brilliant, though she also did worse. The story also intrigued me but it could have been more.

Although it was great for some that it went at a fast pace and was short, there were times where those things were un-doings for 'Fog Over Frisco'. Did think that 'Fog Over Frisco' was too short, barely over an hour is not enough for a story that gets very complicated in the second half, and it did feel rushed towards the end when it literally felt like it sped up the action.

This resulted in from the middle act the story being too busy and at times very complicated, so coherence is affected. The dialogue does beggar belief far too much of the time, the worst of it vomit-inducingly inane, and Donald Woods is incredibly bland and simply does not have the presence for leading man material.

On the other point of view, Davis gives a fiercely committed performance and is a force to be reckoned with. Margaret Lindsay isn't quite as forceful, but she certainly does have much more presence than Woods and nobody doubts her commitment. The supporting cast are not exceptional but do well in rather cardboard roles, even Hugh Herbert (who for me is a take or leave sort of actor, sometimes amusing and at other times irritating depending on the material) and with Irving Pichel being the standout.

'Fog Over Frisco' looks good, especially the locations which have so much atmosphere. As does the photography which is eerie at its best. The film is hauntingly and not too melodramatically scored and Dieterle does competently with the direction. It starts off great with a very promising first twenty minutes that doesn't take too long to set up. The ending does excite

Concluding, not a great film but fun. 6/10

Bette Davis gets top billing even though she isn't in two thirds of the movie? Well, considering how boring the leads were, she deserved it. This films crams a lot into 68 minutes. Red herrings, wild car chases, a butler with a secret and of course Bette Davis as the one who sets it all off, it's all in the film. Davis as Arlene Bradford, seems always in command, that her fate is a little shocking but not unexpected and a little bit delicious. With her short blonde hair and the tight shiny dresses, she is quite a welcome sight. A short fun little film.

I saw this at the Stanford Theatre in Palo Alto last week on a double bill with Of Human Bondage. At any rate, nothing really groundbreaking about this movie except that it was a fast paced, low budget bill-filler made before Bette Davis had broken through as a big star. The real treat here is the location shooting in San Francisco, showing the city before they built the bridges and a car chase that predates the one in Bullitt, except never exceeding 35 miles per hour. I also give the scriptwriters high marks for authentic use of forgotten place names ("Butchertown," "South of the Slot"). I'll admit my admiration is parochial, but you could do worse if it ever turns up on TCM or a streaming video service.

BTW: I can't recommend the Stanford highly enough. Beautifully restored movie palace featuring live intermission organ music on weekends and the cheapest date in town at only $7/ticket for a double bill. Google Stanford Theatre for the latest program.