Le Faucon à l'université

This is the seventh of the Falcon films, and apart from a single line of dialogue by Tom Conway: 'I think more clearly with a tall glass in my hand', there is no witty dialogue at all. The film is very amusing, but no longer because of wisecracks, instead the humour has become entirely situational. The film is what could be called a 'comedy thriller'. The Falcon series has now changed completely, and the last vestiges of true film noir atmosphere have vanished from it like the mist. The setting is a girls' college, and like all films of that time, all the students are several years older than the parts they play. (Watch out for an uncredited early appearance as a co-ed by Dorothy Malone, later a B star.) The only really cute kids in the film play the three daughters of a faculty member: they sing brilliantly and have all the charm and sense of fun of the children that they are. Everybody else is much too old, including Tom Conway in this situation. However, the film is genuinely fun and the plot is an intriguing thriller tale with unusual twists. There are some good scenes on the edges of cliffs, hints of hypnotic suggestion, psychological undertones, a girl who foresees the future and may or may not be insane, all 'jolly good stuff' and a superior B movie. A good time was indeed had by all, even by Jean Brooks, who specialises in looking grim and dangerous while at the same time holding out the occasional reluctant smile as both a threat and an inducement to those who either suspect her or are attracted by her. Her work as a B movie villainess or alluring suspect has never been sufficiently appreciated.

Tom Lawrence investigates a mysterious death at a school for young ladies.

The Falcon and the Co-eds is an enjoyable enough film, and I preferred it to The Falcon in Hollywood. The film has some supernatural elements, and feels a bit like a Val Lewton film; cast members Tom Conway, Jean Brooks and Isabel Jewell all appeared in various Lewton films. Of the supporting cast, Brooks is quite good, and Amelita Ward was good also. Dorothy Malone and Ian Wolfe also appeared in uncredited roles.

I have to admit that I am an unabashed fan of Tom Conway. For the most part, Falcon movies are highly entertaining. Certainly no one will ever confuse a `Falcon' movie with great art, but it is impossible to watch them and not be amused. In this case the interaction between the Falcon and the three Ughs is terrific, humorous and, in its manner, touching. I can not help but smile as the young women of Blue Cliff cast eyes at the famous and romantic Falcon.

As with most `Falcon' movies the plot is secondary. You watch to see Tom Lawrence out smart the police (ably played by Cliff Clark and Ed Gargen), flirt with pretty women (Jean Brooks) and in general act as a proto-Bond (without the gadgets and violence).

If you want to a new view of life, look for a Bergman film. If you wish to see film as art I would recommend The Cabinet of Dr. Caligari. If you want to spend a fun evening with a loved one (or ones) and a bowl of Orville with root beer, it is hard to beat a Falcon movie, and this is a good example of the serial.

Unlike many of the other entries in the Tom Conway Falcon series, The Falcon and the Co-eds rises above mediocracy and delivers a good solid "B" mystery to the audience. The plot is decent, the acting is reasonably good, and interesting camera work contribute to an enjoyable viewing. There are sufficient clues and enough suspects to challenge the viewer to solve the mystery before the detective. Today's audience may find the treatment of young college women as sexist but such depictions probably represent mainstream society at the time. I have not recommended many of these Tom Conway Falcon movies, but I do this one. The scene in which the murderer is revealed is especially good.

Arguably the best of the Falcon series. The movie's a fast-paced, highly entertaining blend of mystery, atmosphere, and gentle humor. And who in production had the casting inspiration for the three little Ugh girls. Their bits are utterly charming as they pipe up like syncopated petunias. And I wasn't even put off by all the girls at the school mooning over a very dapper Tom Conway, apparently dividing his time here with Val Lewton's great horror films. He's perfectly cast as the urbane sleuth.

Rita Corday also shows some acting chops as well as beauty as the spooky Marguerita. Her psychic moments provide a good atmospheric touch. Also, those seaside scenes, especially along the cliffs, add a lot of local color. And speaking of atmosphere, credit that fine RKO team of art director D'Agostino and set decorator Silvera for taking time out from the Lewton series. Those quaking bushes, moody pathways, and elaborate interiors typify their expert hand. On a lesser note, the whodunit is rather routine, but develops into an exciting climax. At the same time, the cop humor from Clark and Gargan is thankfully understated for a change.

Anyway, in my little book, the movie's a minor gem among the many detective series of the movie-drenched 1930's and 40's.