A Máscara da Traição

Catch that great scene where Flaxy (Mayo) beats up a blackmailing Peggy, (Westcott) with the timid hotel clerk hovering outside the door. Big-eyed Westcott really delivers in spades. Too bad the rest of the movie fails to reach that intense level. Looks to me like Warner Bros. used the film as an A-team try-out for cast principals and director. Now, Scott, for one, comes through perfectly as the lawyer with a wobbly compass— I'm just sorry this fine, exotic actor never got the recognition his talent deserved. The material, however, with its nifty double- cross, really merited an A-team director, like Walsh or Curtiz. Instead, the studio gave featurette director Richard Bare a shot, and the result shows he had little feel for the dark material.

Unfortunately, the movie is inferior grade noir, lacking in both style and edge. Take the early scene where Walt (Scott) and Hap (Kennedy) iron out wrinkles in the plot to free Caesar (Overman) from a murder rap. They're standing stock still in Hap's living room, talking, and that's the trouble: they stand stock still for about two minutes doing little more than delivering their lines. Thus, a potentially dramatic scene of rivalry calling for an expressive dynamic falls flat, drained of needed energy and tension.

But Bare seems most at sea in directing the lead actresses. Mayo looks lost in her key scenes with Scott— the second side of Flaxy's devious personality, the calculating side, fails to appear, and thus we're left with a very pretty girl speaking the lines, but without the necessary depth. Catch Malone too in the graveside scene. She's an unsophisticated librarian staring into the open pit of her own doom, but judging from the absence of needed emotion, she might as well be reading a book. Now, Malone later proved a fine actress of many dimensions, (e.g. Written on the Wind {1955}). Here, however, she's stuck in a thankless good girl role, so likely director Bare is at fault for not giving her the necessary cues. I suspect the movie would have improved had actresses Malone and Mayo switched roles.

Then too, Walt's sudden turn-around with 40 grand in his pocket is awkwardly handled. Even an A-grade filmmaker would have trouble making this bit of Production Code hokum believable, but in Bare's hands it comes across as little more than a clumsily developed happy ending. Thus, it's not surprising that the studio returned the director to making the humorous shorts he was so good at following this failed experiment. I also better understand why editors Silver and Ward omitted this entry from their highly successful tome Film Noir. Unfortunately, the movie may have all the trappings of the genre, but like bread dough in the hands of a neophyte baker, the loaf simply fails to gel.

If you can get past the overly contrived plot, this is an enjoyable minor Film Noir. While it's far from the best example of Noir, FLAXY MARTIN can boast one of the most evil femme fatales you'll ever find. In the title role, Virginia Mayo digs her teeth into a selfish, scheming, two-timing dame that rivals just about any of the better-known ones. Flaxy is a nightclub singer (we never see her perform, not even dubbed) kept by syndicate boss Hap Richie (Douglas Kennedy). Unknown to Hap, she's also keeping company with syndicate lawyer Walt Colby (Zachary Scott) who is unaware of her liaison with Hap. Things get interesting when Hap forces Walt to get one of his thugs, Cesar, out of jail after a killing he's committed. He complies, but Walt is tired of his criminal associations and wants to settle down with Flaxy, who pretends to go along with him for a while. Then a paid 'witness" Peggy Farrar (Helen Westcott) is found murdered and it looks like Flaxy is the guilty party. Strongly smitten Walt offers to plead guilty in place of Flaxy, certain he can be acquitted, but Flaxy and Hap take advantage and Walt is on his way to prison. He manages to escape (in a wild sequence) and ends up meeting Nora Carson (Dorothy Malone) a trusting soul who's immediately taken with him. Though he gives her a rough time from the start, Nora helps Walt evade police and relentless pursuit of Roper (Elisha Cook, Jr.) . More help comes from Sam Malko (Tom D'Andrea) an old associate who owes Walt a favor. The plot is full of coincidence and easy solutions, but there is plenty of action, not least of which is a night-time chase that ends with Walt and Roper battling on a rooftop. Everyone in the cast is good, with Mayo, Scott, Westcott (excellent in her brief role) standing out. The ever-dependable Cook is really terrific as small-time hood treated like an idiot by both Hap and Walt ("Go back to sixth grade!") and who wants his revenge. See it for the cast and the crazy plot.

This film starts with overconfident Scott foolishly taking the fall for Virginia Mayo. He ends up in prison and subsequently escapes. He ends up on the run and virtual stranger Dorothy Malone decides to upend her life and follow him.

Strange plot, strange character motivations make this unbelievable, yet it is still entertaining as a B noir.

Odd little noir film with Virginia Mayo as the title character, a total conniving bitch! This must surely be Mayo's most unsympathetic character and shows that she was a better actress than we remember. She played so many "glamour" parts that we forget she could act.

Here she plays a moll working both sides of the fence. She's with a local racketeer (Douglas Kennedy) but also plays his lawyer (Zachary Scott) for a chump. Lots of murders here and there and plot twists aplenty.

Dorothy Malone plays the nice country girl, Tom D'Andrea is Sam the mechanic, Helen Westcott is the hapless Peggy, Elisha Cook plays the gunsel again, Marjorie Bennett is the nosy neighbor, Douglas Fowley is the detective, and Bill McLean is the hotel desk clerk.

Scott actually gets the most screen time because Mayo disappears while he has his country adventure and meets Malone. But everyone is good and works well together. While Malone is stuck in frilly frocks and aprons, Mayo does the glam bit and looks just great.

Aside from solid work from the trio of stars--Mayo, Scott, and Malone--D'Andrea and Westcott are very very good as well. For those of us who remember D'Andrea as the neighbor on The Life of Riley it's always pleasant to see what a good supporting actor he was. I'm not that familiar with Westcott but she is solid here as Peggy. And I always enjoy seeing Marjorie Bennett!!

Virginia Mayo is a man trap in "Flaxy Martin," a 1949 noir starring Zachary Scott, Dorothy Malone, Helen Westcott, and Tom D'Andrea.

Scott plays a mob lawyer Walter Colby, who's sick of the cases handed him by mobster Hap Ritchie (Douglas Kennedy). He's in love with Flaxy (Mayo), who is two-timing him with Hap, though Walter doesn't know that.

Flaxy talks him into staying until they have enough money to take off. When Walter finds out a witness (Westcott) was paid off to give an alibi to one of Hap's henchmen in a murder case, he threatens to go to the D. A. about it.

Before he knows it, with Flaxy's help, he's been framed for the witness' murder. He escapes from custody and, going on the run, meets Nora (Malone).

Compelling film with excellent performances by Mayo, Westcott, Malone, and Elijah Cook, Jr., as one of Hap's ruthless thugs.

Mayo is as cold as they come, sexy and convincing as she manipulates her men. It's always fun to see Tom D'Andrea, whom baby boomers remember as Gillis in "The Life of Riley" as well. He has a small role, but he's very good.

Zachary Scott is Zachary Scott - he has a strong film persona, a good speaking voice, and does tough well. He's not that slimeball Monty from "Mildred Pierce," though, just someone who works for a low-life.

Well worth seeing.