Aventuras em Hollywood

Lloyd Corrigan gets himself in trouble in Los Angeles. He asks Chester Morris to bring him $60,000 from his wall safe. Morris cracks it easily enough, but inspector Richard Lane and his stooge, Walter Sande, sees him doing it. They arrest Morris and stooge George E. Stone, who escape, and then the two pairs of men play tag with each other to LA. There they discover Corrigan is being hoodwinked by a bunch of crooks who are ready to double-cross each other.

Michael Gordon's first feature as director is by no means a classic. However, with a script filled with funny incidents, fast pacing, performers who understand comedy, and characters smart enough to get the drop on the others on occasion, the stern chase is a long one, but a funny one. Some of the players are rather wasted in the haste to get from one gag to the next, but in the end, virtue, such as it is, is triumphant, the good guys win, and the bad guys are hauled offstage in handcuffs. Which is what we come for.

Boston Blackie Goes Hollywood (1942)

*** (out of 4)

Forth film in Columbia's series finds Blackie (Chester Morris) trying to get $60,000 to California so that a friend can pay off a mob holding him hostage. As usual, Inspector Farraday (Richard Lane) thinks Blackie has stolen a priceless diamond and is hot on his trail. Unlike the previous film, this one here thankfully gets the laughs back on target and delivers a pretty good entry that fans of detective films should really enjoy. Once again Morris is very comfortable in his role and by now it seems like he could play it with his eyes closed. The supporting players are all good but again, the main highlight are all the laughs that this entry has. There's a wonderful segment at the end with Blackie and the bad guy fighting in an elevator shaft that has a dash of slapstick, which is really funny. There isn't much of a mystery going on but the 68-minute running time flies by. Forrest Tucker has a small role and if you look fast you can see Lloyd Bridges. Also of note, the word Hollywood is never even mentioned in the film.

It's more like "Blackie Goes to a Hotel in Los Angeles", rather than Blackie Goes Hollywood. Didn't get much of a Hollywood impression from this film. The pace is fast, it is a well edited movie, but the script here is just not quite up to the usual high "Blackie" quality. Also, some of the physical stuff (in and out of doorways, up and down stairs, etc.) is directed rather poorly, but is performed with a lot of energy and verve by the cast.

Chester Morris is watchable with his usual good acting as Blackie. Richard Lane and Walter Sande do a great job as the bumbling police. Constance Worth is attractively untrustworthy as the girl involved.

The ensemble cast keeps this watchable and it moves along briskly, overcoming the weak script.

As you have already read by the person who has only seen this one film in the Boston Blacke series, they are not in the A budget class. Look a little closer and you'll see some up and coming actor, namely Forrest Tucker (Whipper). Who cares if it's not an A picture. These films are fun to watch! And by the way, the original writer of the Boston Blackie series was an opium addict and did time in prison. He began writing in prison and when he got out his stories were bought and changed for the movies. Columbia pictures had a hit on it's hands. Not all the movies made back then were Rita Hayworth and Glenn Ford, if it weren't for Boston Blackie and his antics Columbia would have probably gone bankrupt a long time ago. Most movies made even today aren't worth the time and money, but every now and then the movie makers get it right and it works. Open your mind and enjoy a fun film. Any Boston Blackie movie is fun to watch.

What makes a series last?

Here's a film that is in the middle of a remarkably successful franchise. One wonders what in the formula worked so well.

I think in this case it was the focus on sidekicks. Our two main characters are a "reformed" master thief, the Blackie, and a senior police chief who always chases him and whom reluctantly ends collaboratively up solving some crime. Ho hum so far.

Each of these guys has a sidekick. Each sidekick is incompetent, in fact utterly dependent on his alpha dog. Overall, Blackie's team is suave and the police team gets the worst of pranks. But its the dynamics of the pairs that I think gave this formula its success. There's something about defining a loyal admirer and placing him on screen. Its a funny sort of narrative shift where some small element of ourselves are placed on screen. As they admire the character, we do too, a bit more intensely. To make it more admirable (pun here) we have to have a sidekick who we knowingly do not identify with, someone at the far end of competence.

In other films of this era, the comic main at the bottom of the stack would be a black man. But that wouldn't work for this recipe, because the audience is presumed to be white and the mechanism based on subliminal identification. You'll still see this in cop buddy movies and many teen movies.

Other than this minor thrill, of seeing a perfect and inexpensive formula at work, this is a waste of time.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.