Whispering City

Whispering City's locale is Quebec City, that odd European fortress set high over the St. Lawrence River; it comes to Gallic life more fully here than in Alfred Hitchcock's I Confess, made a few years later.

The death in an auto accident of a long-retired actress spurs crime reporter Mary Anderson to work up a feature story; the woman was sent to a sanitarium years before for insisting that her fiance's death was actually murder. Pursuing a lead, Anderson interviews a prosperous benefactor of the arts (Paul Lukas), who seems curiously bothered by the visit. Currently, Lukas serves as the patron of an impoverished young pianist/composer (Helmut Dantine; the two actors both appeared in Watch on the Rhine). Dantine is working on something called The Quebec Concerto; an oddly scored work, its orchestra features a Sousaphone rearing its brassy bell.

An overcomplicated but still compelling plot involves Dantine's disturbed shrew of a wife, who's dependent on injections to make her sleep; the discovery of her suicide, which is made to look like murder (well, it seemed to work once); a blackmail scheme to engineer another murder; and a faked death made to look like yet another murder. (Eagle-Lion was not known for the elegant simplicity of its plots.)

Oddly, it all works, if a bit creakily. Mary Anderson suggests two-thirds Teresa Wright and a third Bonita Granville; the latter impression no doubt derives from her sleuthing around in a jaunty tam, like Nancy Drew. She has the distinction (as does the director, the short-lived Fedor Ozep, as he's credited here) of helping to make the best Nancy Drew mystery ever released. That's faint praise, but praise nonetheless.

This is a very good Canadian film. On the face of it, one would expect a strictly routine lady reporter investigating some unusual doings, but it's much more than that. I won't spoil the intricate plot, but it does take concentration to follow. Paul Lukas is, of course, his usual magnificent self The camera work is especially good and the backdrop of a city that most Americans didn't see very much of on the screen is quite good. The classical tone set by Helmut Dantine's character's composition, The Quebec Concerto, is very impressive.

One realizes who the villain is from his first appearance and yet the movie achieves not quite Hitchcockian suspense by the end. This is indeed an unjustly overlooked film.

Fyodor Ozep's last movie feels like a Russian novel, with its themes of retribution and conscience. And music. There's a great Romantic concert that plays with the denouement, and if it were more Russian, it would have made my point too clearly for any subtlety. Ozep was a Russian film maker who had left the Soviet Union in the early 1930s, but while in his homeland, he had done startlingly original work, in Germany and France and the United States, he drew his works from the Russian novelists: Tolstoy and Dostoevski and Pushkin.

It all begins when news reporter Mary Anderson is assigned a brief story. Mimi D'Estee had once been a well-regarded actress. However, when her husband was killed in what appeared to be an accident, she retired and has spent the rest of her life saying it had been a murder. Now she has been struck by a car and is in bad condition. Miss Anderson next approaches local philanthropist Paul Lukas, who is busy arranging for Helmut Dantine's premiere of his concerto. Dantine's wife is driving him batty; he can't work. Eventually he leaves and Miss Anderson comes in. Lukas is sympathetic. After she leaves, he calls the hospital and discovers Miss D'Estee has died. He calls his friend, John Pratt, Miss Anderson's editor, and suggests there's no point in raking up ancient scandal. Pratt agrees, but Miss Anderson is going to continue her investigation.

So far, there's nothing to indicate.... well, anything. Nineteen minutes of the movie have passed before Miss Anderson goes to Miss D'Estee's apartment and barely misses Mr. Lukas, who has broken in. Since she will not give up the story, Mr. Lukas will just have to convince Mr. Dantine to kill her.

Ozep has directed the script to his actors' benefit. People -- aside from the increasingly deranged Lukas -- behave the way people behave. Their conversation sound real. The reactions sound real. The nuns gliding by on the street look real -- the movie was shot in Quebec. There are lovely moments, like the paternal manner of John Pratt towards Miss Anderson, the way a florist's delivery boy waits for his tip, Mr. Dantine's embarrassment at the flop house he is staying at, even the way Miss Anderson stares in horror at Mr. Lukas, come to murder her. People always remain people in this movie, even at the most bizarre moments, and Ozep's handling emphasizes that. Moments like those are far more cinematic to me than the most involved Busby Berkeley visual extravaganza and this movie has plenty of them. They do things and we, the audience, infer. That draws us into the story and the characters far more surely than a three minute exposition.

The early parts of this movie were terribly confusing to me. True, the print I saw was terrible. It looked like 8 millimeter. However, I hung in because of its interesting cast and indeed, it picks up: Mary Anderson was a very appealing actress. Too bad she never became a star. Helmut Dantine was very handsome and his acting is very good, too. And of course, top-billed, we have Paul Lukas. Only four years after his Osacr-winning performance in "Watch on the Rhine," here he is at Eagle-Lion. Talk about the curse of the statue! From its introduction, the music is exceptionally good. The Dantine character is a composer. He has written a piano concerto, which we hear in pieces and then in performance. (Not all of it is performed but it looks like a real orchestra really playing it.) I can't think of a better piece written for a movie except the Korngold cello concerto for the deliriously wonderful "Deception." I love that movie and I love his music. That piece, stripped of the name of Claude Rains's composer, Alexander Hollenius, is now performed and often recorded by major orchestras, as the Korngold Cello Concerto.

Once this movie finds its footing, it's very intriguing. But till then, it's really pretty bad.

Whispering City is a 1947 film starring Paul Lukas, Mary Anderson, and Helmut Dantine, directed by Fyodor Otsep.

Mary Anderson is Mary Roberts, a reporter in Quebec who goes to a hospital to interview a dying actress. The woman tells her that her wealthy, well-known fiance did not die in an accident but was murdered.

Her editor doesn't think it warrants a story, but later, the woman's diary is sent to her. She then becomes a threat to the murderer, attorney Albert (Lukas).

Knowing how miserable his composer client Michel (Dantine) is in his marriage, he fakes the spouse's suicide, which is exposed as murder. He offers to alibi Michel if he will kill Mary.

Well, this movie is no Strangers on a Train or the Quebec-set I Confess, but it's okay. I always thought Mary Anderson was so pretty and graceful; she's lovely here. Oscar winner Paul Lukas makes a good villain, and handsome Dantine acquits himself well.