Homem Solitário

I can see this is a series B movie, with the feel of a Hollywooed blockbuster. Acting is really good, and the story, although light, is really fun to watch. Found it by surprise, but could not get past it. It would be great to have the two lead actores rediscovered, specially the lady.

PRC was a very tiny studio with the lowest of budgets. One big way they saved money was to pay their writers practically nothing for their scripts--and it's painfully obvious in "The Man Who Walked Alone". While I enjoyed the leading man, Dave O'Brien, he just couldn't make up for a script that was written for peanuts.

The film begins with O'Brien trying to thumb for a ride--and with no success. So, in desperation, he tries what an annoying farmer tells him--and jumps into the road at the next car. Well, it causes a minor accident and instant hatred erupts between the lady driver and O'Brien....and it was a cliché that the two would soon fall in love. But, in the meantime, some kooky things occur and they go to jail TWICE and yet they somehow have gone from hating the sight of each other to making eyes at each other--something that made no sense at all. In fact, the writer seemed to toss in many story elements--few that worked and the plot just seemed forced and quite contrived. None of it was believable or made sense--and I really couldn't wait for this ultra-cheapie to end.

This film is an amazing display of genius in story telling through motion pictures. Christy Cabanne wrote and directed this quiet masterpiece. This is one of those movies where no changes could be wanted in its structuring. The scenes follow at a perfect pace, not slow, and not too fast. The chosen actors bring to life the parts they were intended for. All were well chosen...especially Kay Aldridge who at last gets to show a fuller scope of her acting talent. The script has been composed with an intelligence that is far higher than most scripts. The interplay of banter has a natural tone common only to something composed with a high IQ. I would love to comment on the subtle representations in the film but this would end up a set of spoilers for one of the great achievements in an unusual story made believable in this superior production.

This movie is something of a find. With so many movies made at the time, many were bound to slip under the radar. This one did, sadly. The story is engaging from the start and never droops. It's a total joy. Considering it was made by one of the smaller studios, the sets looked good and the story was excellent. But really it's the acting by the two little known leads that makes this so watchable. Dave O'Brien, playing the kind of role that would normally have to gone to Cary Grant or Joel McCrea, proves he was as good as anyone at playing screw ball comedy. Kay Aldridge is stunningly beautiful as the female lead that would normally have gone to Claudette Colbert or Jean Arthur and is a revelation. Miss Aldridge bares more than a passing resemblance to Vivien Leigh, and at times sounds like her. Which is no bad thing considering how good Vivien Leigh was. She and Dave O'Brien have great chemistry together in this. The rest of the cast are just as good and I would recommend this movie to anyone to watch.

I don't go looking at PRC movies expecting much in the way of excellence, even if they are directed by the underrated Christy Cabanne. So when I decided to take a look at this movie, I didn't expect much. Imagine my surprise when I found it a spiffy comedy in the vein of Preston Sturges' HAIL THE CONQUERING HERO.

When we first meet Dave O'Brien -- better remembered for his roles in countless Pete Smith shorts and low-grade B westerns -- he is trying to hitch a lift into his home town. All we know about him is that he is a war vet who grew up in an orphanage; his (new) home town was bequeathed to him by his fox hole buddy who hasn't made it back. He annoys Kay Aldredge, a local heiress engaged to a politician whom she doesn't love, and gets a ride from her. They are promptly thrown into jail. Twice.

I said this movie is in the vein of Preston Sturges' great comedy, but it is far more cynical. The auctorial voice in the other movie is cynical, even as the characters are stoic and steadfast; even the politicians in HAIL are well-meaning, if terribly confused. In this movie, every character is cynical: not just the kid sister and the worldly-wise aunt, but even the dithery mother. They all know they are putting on a false front, and are more concerned with appearances than the realities.

In many ways, the script of this movie offers a film noir world view hiding under the mask of a standard romantic comedy. It's filled with fine comedy veterans who underplay their roles. In the end, it offers the message that there is hope, so long as people are honest; also a few laughs along the way.