Alerte aux banques

I don't known what it was about Hollywood in the 1930s, but there's a certain class of movie of which we got a glut in those first years after the talkie became the predominant form. No few titles of the decade are competently made, with a duly engaging narrative of some variety, but carry themselves with such an unbothered, even-keeled tone that it's all too easy to tune in and check out, and one has to be careful that they don't blink and miss five or ten minutes. Is it that studios were relying on the conglomeration of light AND sound to entrance viewers, so they could get by with material and execution that was less robust? Is it that filmmakers were broadly still acclimating to shooting with sound, and in one capacity or another the end product suffered? Were writers pressured to churn out one screenplay after another, whether to make a quick buck during the Great Depression and/or to take advantage of the new advances, and quality suffered in turn? I don't know what the answer is, but 'Bank alarm' fits the bill neatly.

It's not bad. There's some light humor, though some is overly silly, as if two different screenplays were written for this crime story - one a drama, the other comedy - and they were smashed together into one with a resulting uneven tenor. The story is fine, though with the way it's assembled here there's no possibility for major excitement, as half the puzzle pieces are largely laid out for the audience before the characters find them, and the other half are revealed with that same unbothered, even-keeled tone. The cast give suitable performances; the stunts and effects are capably executed. All the fundamentals are fine: direction, cinematography, editing (if sometimes too curt), sets, costume design, hair and makeup (if less than remarkable). And so on, and so on. We sit, we watch, the plot turns in this or that direction, an hour passes, and then we move on with our day and remember nothing about the viewing experience. 'Bank alarm' is hardly the only picture to share these characteristics, but that doesn't make it better.

If you're looking for something light, a feature that doesn't require substantial commitment as a viewer even at the climax, and don't mind some ham-handedness, you could do a lot worse. If you're looking for something that will keep you firmly enraptured and heavily invested, a masterpiece of cinema that you will think about for a long time to come, keep on looking. There's even some minor cleverness here, if you don't blink and miss it, but one way or another this is far from a must-see. If you happen across it and are so inclined, there are worse ways to pass the time than 'Bank alarm.'

It's a 30's programmer, the last of a four entry series featuring Nagel and Hunt (IMDB) in the roles of detective and girl-friend assistant. The cast is lively even though there's not much suspense, while most action is goofy Barnette trying to tame his spindly camera stand. The good guys are on the trail of bank robbers who've made a series of big money heists. My favorite scene is the robbers in jail where they proceed to steal a big bundle, an imaginative idea that plays well. Adding to the plot is Nagel's sister Kay (Francis) who's unknowingly hooked up with the baddies and in danger of coming between brother and baddies. Too bad that angle is not played up more for suspense value. Then too, Barnette's role as comic relief is bigger than usual and unfortunately rivals the dramatic development. Anyway, the flick's nothing special, just an easy way to pass an hour and glimpse 30's fashions and flivvers, sort of like an installment of 30's TV if there were such a thing.

Bank Alarm is a pretty straightforward, pull no punches actioner that pits a married (nice!) couple of a G-Man and (yes) G-Woman, against a counterfeit money ring. The bad guys you see, popped the counterfeiter of the money they are planning to distribute. (thanks to the descriptions of 5! Count em! 5! Newspaper headlines we get to see), The G-People, as I like to call them, methodically step by step, follow the pieces of the puzzle until the end until it's somewhat predictably conclusion. Actually, this is so straightforward, there's hardly any suspense happening, But still, it does have it's moments, but I could have done away with the lame comedy bits provided by Vince Barnett.

On the silent screen and the early sound era Conrad Nagel was a major star working with such people as Greta Garbo and Norma Shearer. But by 1937 he was in the minor leagues working at Grand National Studios and starring in a series where he plays G-man named Alan O'Connor.

In this film Bank Alarm Nagel is working on a series of bank robberies and since the New Deal and Federal Deposit Insurance Corporation bank robbery is now a federal crime. It's what J. Edgar Hoover's agency did its best work.

But there's another wrinkle here as someone is attempting to change serial numbers to make the loot untraceable. By dumb luck he changes a bill and makes a serial number the same as one in Nagel's hands. The second wrinkle is that Nagel's sister is actually being romanced by one of the gang.

Vince Barnett plays a photographer and Nagel's sidekick. I might have shot the guy on general stupidity grounds. What was kind of touching in Scarface did not work at all in Bank Alarm for Barnett.

Conrad Nagel must have wished for the arms of Greta Garbo once more.

This film begins with an agent for the Department of Justice by the name of "Alan O'Connor" (Conrad Nagel) along with his assistant "Bobbie Reynolds" (Eleanor Hunt) being sent to investigate a series of bank robberies in and around Los Angeles. However, upon starting their investigation they discover that their lead suspect has been killed while in jail awaiting questioning. That being said, they have no recourse other than to wait and see whether the bank heists continue and then follow up accordingly. It's during this time that Alan's sister "Kay O'Connor" (Wilma Francis) arrives and eager to show her around they invite her and a male friend she met on the airplane named "Jerry Turner" (Frank Milan) out to dinner. What they don't know is that Jerry has just flown in to join up with the bank robbers in a particular heist planned later in the week and is planning on using his relationship with Kay should anything go wrong. Now rather than reveal any more I will just say that this was a basic crime-drama from the 30's which clearly shows its age. To that end, although it flows smoothly enough, I didn't especially care for the inclusion of the bumbling photographer named "Clarence 'Bulb' Callahan" (Vince Barnett) who was brought in for comedic effect as it cheapened the overall effect. Be that as it may, while this wasn't a bad film necessarily, it could have been better and for that reason I have rated it as just slightly below average.