Million Dollar Weekend

I have no idea why this is classified as a comedy on this site! There are no comedic elements to this film - it is in fact a quite dark, 'film noir'-ish drama, and a very good one.

Quiet middle-aged businessman Nicholas Lawrence is fed up with his life and decides to embezzle his firm of a million dollars and flee to Shanghai. However, it becomes his misfortune to find himself seated with a dodgy pair of passengers on the plane: a beautiful young widow, Cynthia Strong, taking a trip to Hawaii to get away from it all after the untimely death of her husband, and tooth-clenchingly irritating Alan Marker, who has trailed her in an attempt to blackmail her by threatening to frame her for the murder of her husband.

When Alan has to make a trip to the gents', Cynthia begs Nicholas to help her by pretending he's an old friend of hers whom they have just mutually recognised, in the hopes that Alan will take the hint and go away. However, he instead sticks himself to the both of them like glue for the entire stopover in Hawaii and makes life miserable, culminating in his stealing Nick's stolen million and hightailing it to San Francisco. Needless to say, Nick is not now able to continue on to his destination of Shanghai, but instead he and Cynthia go in pursuit of Alan.

This is a very absorbing, well-acted dark drama with a sympathetic hero, a lovely and mysterious leading lady, and a memorably obnoxious villain (Francis Lederer, who played Alan, was the founder of the American National Academy of Performing Arts and apparently was still teaching acting up to the end of his life - so he certainly knew how to play a truly obnoxious bad guy).

Very recommended film which should be better known - you can easily imagine Bogart and Bacall in the leading roles, and if that had been the case, I think this film would have been a well-known classic, but the actors who do star in this film carry off their parts very well.

Pretty good noirish crime drama despite its obscurity. Seems businessman Nicholas (Raymond) is fleeing the city from something unknown to us. Also fleeing is unhappy Cynthia (Massen) who's being blackmailed by slimy Alan (Lederer) for killing her husband. Together they all meet on a commercial flight to Honolulu where Cynthia inveigles Nicholas to help her fend off the snarky Alan. So how will this star-crossed meeting turn out, especially with all the hidden interests. (I wish IMDB's Plot Summary hadn't disclosed Alan's secret for fleeing his job since that's a key part of the suspense.)

There's no attempt to charm the audience Hollywood style since the principals hardly crack a smile the whole way through. Massen's Cynthia, in particular, has to remain dour the whole way, hardly the typical leading lady demeanor. Nonetheless, her talent registers. Maybe stealing the show is Lederer's Alan who's about as slimy and dislikable as they come. I kept hoping his smirking good looks would get permanently cratered at some point.

As producer, director, and male lead, it looks like actor Raymond was following along path of actor Robert Montgomery who turned impresario several years earlier with Lady In The Lake (1946) and Ride The Pink Horse (1947). However, given Nicholas's dour personality, Raymond doesn't use his executive standing to elevate himself.

Anyway, don't look for a lot of action except for a scenic car chase and brief fisticuffs. The flick's really more about character and fate (the meet-ups) than cops and atmosphere especially with the scenic Hawaiian locations. Likely, the 72-minutes amounts to too much of a downer to ever gain a following. Nonetheless, the obscure production manages to carve out an oddball impact of its own.

Gene Raymond is director, writer, and lead actor in this chase action-thriller from 1948. (One of three movies he made that year.) Not sure if his stiff, wooden performance is intentional, but it's quite a change from his earlier roles, where happy-go-lucky boy meets girl, they have some silly misunderstanding, then it's resolved. In Million Dollar Weekend, Nicholas Lawrence (Raymond) is absconding with the company funds, and gets involved with the pretty girl Cynthia Strong (Osa Massen), who thinks she is also running away from her problems. Both of their plans for flight are sidetracked, and they agree to try to solve their own problems back home. Some scenes are a little weak, such as the car chase (filmed slow, then sped up ??) and a fight in the hotel hall. Interloper Alan Marker gives the strongest performance of the ensemble. Black and white flick. Not bad, no plot holes. Would be interesting to know if the filming locations (Hawaii and San Francisco) were authentic or backdrops.

30s screen idol Gene Raymond's sole directing credit and one of his last leading roles is a nifty thriller which sees him play a trusted bank employee who, uncomfortably aware that life is passing him by, steals $1m in bonds from his employer. The robbery is simple, but reaching his ultimate destination of Shanghai proves less straightforward when he finds himself sat opposite possible femme fatale Osa Massen (credited as Stephanie Paull), who's being blackmailed by fellow passenger Francis Lederer. The routine plot is energised by a series of twists and is further bolstered by the interplay between the three leads, with Lederer standing out as a pleasingly slimy antagonist.

It seems as if the late 1940s was a time when every aging Hollywood pretty-boy star from the 1930s was trying to revitalize his career by film noir. MILLION DOLLAR WEEKEND was Gene Raymond's attempt. He not only starred and co-produced, he directed it, and DP Paul Ivanov offers some noir touches almost immediately: when Raymond is confirming his airplane reservation, the desk clerk sits in a room well shadowed by Venetian blinds.

Raymond leaves his brokerage office and takes that plane. First to Honolulu, for a brief stopover while waiting for his flight to Shanghai. On the way, however, he is waylaid by Osa Massen. She is being blackmailed by a smarmy Francis Lederer, who also steals Raymond's briefcase. This leads them back to San Francisco (where else for a film noir?) and revelations.

Despite the film noir touches, for most of its length, it doesn't fit so neatly into the category. Mostly, it seems a tired retread, in which we are forced to guess what is going on, because everyone is keeping secrets. Then, just before the hour mark, Raymond and Massen tell each other what is going on, their hopes and failures, and it's clear that Mr. Raymond was not just another pretty face, but an actual actor.

The movie didn't do well at the box office. It was released by Eagle-Lion, still working its way out of its PRC roots, and film noir was a drug on the market in 1948, even with topnotch talent at the height of its fame. Even so, it's a worthy addition to the genre, if only for that one scene, of two actors talking to each other about their human frailties.