Maré Cheia

...but then I always love watching Lee Tracy at work, so that does make up for the lackluster execution of what could have been a good little mystery.

The film opens in an interesting manner with two guys at the site of a wrecked car with the tide coming in. They are both injured and sure to drown if something or someone does not intervene. It is obvious from the conversation that one of them is the bad guy but which one? This is to get your interest, then the film cuts to the back story which amounts to the entire movie.

Lee Tracy plays Hugh Fresney, editor of a Los Angeles newspaper. Somebody takes a couple of shots at him and the owner of the paper, Clinton Vaughn, one night, and Fresney is not sure whether the shots were meant for him or for Vaughn, so he calls up an ex-employee of the paper (Don Castle as Tim Slade) to investigate the situation. However, the reason for Slade being an ex-employee is that he was in love with Clinton Vaughn's wife, and in fact, still seems to be so. There are lots of side spats and odd goings on that keep you guessing until the entire thing is unraveled in a monologue that is delivered at such a machine gun pace that you will have to rewind a couple of times to catch everything.

Another problem is that just about every player in this film is so anonymous that it is hard to keep track of who is who, plus a couple of the players are so physically similar to one another that you won't be able to tell which character is actually on screen at the time. Then there are characters that show up, do or say something odd, and are never mentioned again. There is the question as to why Slade is so vital to solving this case when he was just a reporter before, not a P.I., and why the investigating police detective, played by the not so anonymous character actor Regis Toomey, seems so impotent and pig headed about everything. He's a great cartoon of a cop, but not much of a problem solver. Finally there is Julie Bishop as Julie, a secretary who only shares a couple of scenes and a couple of sentences with Slade, yet she seems to gather from him saying "You should see the lights of San Francisco some time" - Slade's new hometown - as a proposal...and she is right? Usually they have a name for girls who make such assumptions and that name is stalker, but here it is fiancée! I'd watch it for the weirdness of it all and for Lee Tracy, who gave every role his all. It's just too bad he blacklisted himself from A list productions back in 1934.

Lee Tracy and Don Castle are trapped, dying in a crashed car at the beach. Flashback. Castle has just been hired as a PI by Tracy, playing a newspaper editor, to figure out who's been threatening him. Trouble is, Tracy's boss doesn't like Castle, because Castle and Julie Bishop, the boss' wife, had been a hot item, and she still wants him. So when the boss is shot and Tracy is wounded, things get even more confused....

The trouble with HIGH TIDE is this: there's a good story in there, and all the actors are good and make their lines sound real. The problem is those lines are trite. It looks as if some one saw one of the defining 'tec film noirs, like MURDER MY SWEET and said "Write in a scene where he gets worked over, and then shows up at the girl's house and cracks wise," so the writer does, and "Make the older woman jealous of the younger one." Unfortunately, by the time all these scenes had been written in, there was no way to write in the bits to connect them and make sense of them and keep things moving along at a tight 72 minutes. The result is a very watchable flick, with great moments, that doesn't, alas, bear much thought

"High Tide" is a totally obscure but wonderful B-movie film noir from the Monogram mill. It opens with a car careening off a desolate seaside cliff -- its two occupants (Lee Tracy and Don Castle) injured and trapped in the wreckage. As the turbulent tide quickly threatens to engulf them, the events leading up to their predicament are recounted -- a twisty tale of a cynical, crusading newspaper editor (Tracy, naturally) taking on the mob while the high-living owner frets. The latter has even more problems when Tracy hires his jaded wife's ex-lover (Castle) as a private investigator.

Solidly directed by John Reinhardt (who also triumphed with another seedy, minimally-budgeted Monogram noir called "The Guilty"), the dialog is snappy but eloquent, there are plenty of venetian-blind shadows, silhouetted figures and moody low-key lighting, and the plot is nicely unraveled. Only the annoying library-style music lets the side down (lending it that inevitable "B" quality, of course). Tracy was playing out the string on poverty row at the time, but his wry staccato readings and weary-but-steadfast demeanor are a perfect fit here.

There are B movies from the forties, and then there are really good B movies from the forties. This one belongs in the latter group. A good case could be made that it is among the best B films ever made. It has editing flaws to be sure, and some of the dialogue is corny and there are throwaway lines, but the primary plot and set-up for the film are first-rate. It will keep you guessing from beginning to end, and I guarantee you that you will most likely be guessing wrong, like I did. And I usually don't guess wrong in these films. That alone should tell you something about the plot. Good luck trying to guess the man (or woman?) who is the secret killer.

Flicker Alley and The Film Noir Foundation's latest release focuses on two forgotten films from Monogram Pictures that were shot back to back in 1947. They feature the same director (John Bernhard), the same producer (Jack Wrather), the same cameraman (Henry Sharp) and the same leading man (Don Castle). Both clock in at 71 minutes and are Film Noir stripped down to its bare essentials. The two films were intended to be companion pieces and make an excellent double feature which is the best way to see them. The movies are THE GUILTY and HIGH TIDE and they should be viewed in that order. Also contributing to their ressurection are the UCLA Film & Television Archive and the British Film Institute.

THE GUILTY is truly an example of minimalist filmmaking. It was shot on just three sets with a minimum of exteriors. There are 3 principal characters along with just a couple of supporting roles. The movie was shot in less than 2 weeks on a budget of $150,000 and looks it but that is a plus not a minus. The source material is a short story by Noir specialist Cornell Woolrich. It concerns two army buddies who share a dingy apartment. They both love the same woman who has a twin sister. When the twin is murdered, one of the roommates (who also is the film's narrator) tries to figure it out. He does but with a neat little twist at the end. Former juvenile actress Bonita Granville plays the twins.

HIGH TIDE had a higher budget which allowed for more sets and more exteriors although many are rear projections. The movie is a showcase for Lee Tracy who portrays his archetypal newspaper character from the 1930s except he's now older and more hard edged. An unscrupulous editor takes out a life insurance policy and names a former reporter turned private investigator (Castle) as the beneficiary. After attempts on the editor's life are made, the P. I. tries to track down those responsible. Complicating matters are an old flame and a criminal kingpin. The film opens and closes with Tracy and Castle trapped in a wrecked car on the beach while the high tide is rolling in. Most of the movie is a flashback explaining how they got there.

Future Disneyland hotel owner and 1950s TV magnate Jack Wrather (he produced the hit shows THE LONE RANGER, SGT PRESTON OF THE YUKON, and LASSIE) financed both of these movies. THE GUILTY was meant to showcase his future wife Bonita Granville and his fellow Texan, Don Castle. Castle is very good as the lead in both films but is overshadowed by Tracy in HIGH TIDE as Tracy has the juicier part and better dialogue. Both pictures were adapted by Robert Presnell Sr. Who does a good job in tweaking the plots and keeping most of the original dialogue intact. HIGH TIDE is based on a story by Raoul Whitfield who wrote alongside Dashiell Hammett and Raymond Chandler at BLACK MASK magazine.

Sincere thanks are due to the British Film Institute as they provided the prints used for these restorations. In fact both movies open with the British Board Of Censors' approval certificates. After finding them in their archives, the BFI turned the films over to the Film Noir Foundation who gave them to the UCLA Film & Television archive for restoration. After the restoration was complete, the FNF in conjunction with Flicker Alley prepared this Blu-Ray for commercial release. As we have come to expect from this partnership, we not only get the two movies but lots of supplements as well from documentaries on the creators to a 22 page booklet featuring book to movie comparisons. An outstanding release for Noir fans...For more reviews visit The Capsule Critic.