A Consciência Acusa

I hate reading reviews that say something like, 'Don't waste your time, this film stinks on ice.' It does to that reviewer yet for me, it may have some sort of naïve charm. If you like the other 'Whistler' series films, this one will be watchable. If you like 40s noirish films, this one will be watchable.

This film is not as good, in my opinion, as any of the earlier series entries which starred Richard Dix as the protagonist. It's much slower, and the plot is trite. You've seen this same narrative device used in many other films, and usually better.

But the acting is good, and so is the lighting, and the dialog. It's just lacking in energy and you'll likely figure out exactly what's going on and how it's all going to come out in the end not more than a quarter of the way through.

The 'Whistler' series is semi-noir, and there character, mood, lighting, camera movement and angles are more important than the story itself. But this film is not noir. It's too light weight and Hollywood innocent for that. Neither Richard Dix's character nor those of any of his ladies in the previous films had to come to a good end. You just never knew until the end.

But still, I'll recommend this one for at least a single viewing. I've watched it at least twice myself, and got a reasonable amount of enjoyment out of it both times.

Last of the Whistler movies and the only one without star Richard Dix. The plot here is about a man (Michael Duane) whose fiancée (Lenore Aubert) disappears from her hotel the night before they are to be married. He investigates along with the assistance of a private detective. Michael Duane is okay but it's easy to see why the series didn't continue with him. Lenore Aubert is lovely. Richard Lane, usually playing Inspector Farraday in the Boston Blackie series, plays the private eye here. Great character actor Olin Howland stands out as a hotel clerk. Not a bad B movie but missing the screen presence of someone like Richard Dix. Still worth checking out if you catch it on TV one of these days.

The "Whistler" series of mysteries in the 1940s was one of the immediate ancestors of "film noir." The stories were usually dark, the characters were morally ambiguous, and the shadowy, anonymous narrator ("I am the Whistler") added an extra touch of creepiness.

This last entry in the series is different from the others. It's lighter, in both senses of the word. Though it's an adequate "B" mystery, it's no grimmer than an Agatha Christie film.

The difference is partly due to the writing and directing, but the absence of Richard Dix, the aging former star who played the leads in the previous films, is a big factor. Dix had a "noir" persona if ever there was one. He looked like a man haunted by the past and worried about the future. Here he's replaced by fresh-faced young Michael Duane, who just doesn't have the same gravitas.

The plot is a variation on a familiar theme. A man's new fiancée vanishes, and he quickly realizes how little he really knows about her. The more he learns what seems to be the truth, the more it makes sense simply to forget all about her, but he can't get past the feeling that somebody is lying to him.

The mystery woman is played by Lenore Aubert, who was sort of the poor man's Hedy Lamarr in the 1940s. She's supposed to be a French widow here, though she doesn't sound terribly French. (She was actually born in Slovenia and raised in Austria, and her Gallic-sounding screen name was dreamed up by Hollywood.)

This is a decent little crime story, but it's not representative of the "Whistler" movies. If you don't happen to like it, at least give another film in the series a look.

Return of the Whistler, The (1948)

*** (out of 4)

The seventh and final film in Columbia's series tells the story of a man (Michael Duane) who checks his fiancé (Lenore Aubert) into a hotel room but when he returns the next day she is gone. He eventually tracks her to a strange family who claims the woman is already married but there's more going on. The series certainly ends on a very high note and I have to wonder why more movies weren't made unless they simply weren't making money. Richard Dix is missing but Duane makes for a good leading man and carries the film just fine. Aubert, from Abbott and Costello Meet Frankenstein, turns in a fine performance as does Richard Lane from the Boston Blackie series. What has shocked me the most about this series is that all of the screenplays are "A" level in their style and sharpness. This film offers a lot of nice twists and turns, which make it worth watching for mystery or noir fans.

Richard Dix decided to retire and so Michael Duane took his place playing the role as Ted Nichols who meets up with a young French girl named Alice Dupres Barkley, (Lenore Aubert). This couple only knew each other for two days and they decided to get married by a Justice of the Peace (Judge) and it is pouring rain when they pull up to the Judge's home and find out he is not home and will not return until the next day. As the couple are inside the house you see some one lift up the hood of their car and takes an automobile part from the engine. Once you see this event happening you realize this couple is in for a big surprise and the story beings to reveal a very mysterious event which surrounds Alice Barkley and so poor Ted Nichols starts out with plenty of trouble and no marriage. Good mystery, but I missed Richard Dix. Enjoy.