L'ange de la haine

Combining elements of a political thriller with elements of a mystery story, "Jigsaw" ends up being somewhat uneven, but certainly interesting enough to make you keep watching. The mystery angle is the part that works the best, keeping you guessing much of the time. Most of the production is strictly B-quality, but the performance of Franchot Tone, some cameo appearances worth watching for, and some interesting plot ideas bring up the overall quality.

The initial story idea is a bit routine, with Tone as an Assistant DA who is concerned about the activities of an extremist political group. While not entirely predictable, this side of it is never all that interesting either. The group remains too vague to seem like more than a small-scale threat. What perks things up is when Tone begins meeting a series of interesting characters from an assortment of backgrounds, with each of them either a potential friend or a potential enemy.

The finale of all this intrigue sets up a very interesting showdown between a number of groups in an art museum. The low production values keep it from being as memorable as it could have been, but it is still a good idea. Likewise, the movie overall never quite comes together as well as it could have, but it does have a number of positive things to offer.

Film noir fans seem to be ready to watch just about anything that their favorite genre provides, very much including minor efforts of which few have heard. This particular one has been available from various public domain sources for years, but it will probably prove to be a tedious disappointment.

Franchot Tone plays a district attorney who begins an investigation into the suicide (?), which the audience knows from the opening scene is a murder, of a press printer for a hate group. Soon the D.A.'s reporter/buddy on the same case is also murdered.

This murky, confused, badly edited film's narrative is a challenge for anyone to follow. That's not particularly uncommon for film noirs, of course, but the film (especially with the various PD prints) also lacks any distinctive visual interest or directorial style, making for a pretty dull going that, for this viewer, at least, couldn't end soon enough. Prints of the film may vary. The one I saw was 74 minutes.

The most curious aspect of this low budget production are the various three to five second cameos made by a number of "A" list stars. There's Burgess Meredith as a bartender, Henry Fonda as a waiter, John Garfield as a newspaper reading street guy and Marlene Dietrich as a patron leaving a nightclub, that nightclub appropriately called "The Blue Angel." I also spotted Marsha Hunt and Everett Sloane.

Exactly why these stars briefly appear I'm not quite certain, though in the case of Garfield it was as a favor for pal Franchot Tone. It was probably much the same kind of thing with the others.

If you're a hardcore noir fan (there is one murder sequence done at a low camera angle that perks the interest a little), there are various prints of dubious quality available of this one on You Tube.

This movie is almost impossible to follow because of its very muddled story and story-telling. I can't even exactly tell you what this movie is really about. It's almost as if the movie is constantly abandoning its own main plot-line. The story-telling also really isn't helped by its wooden and extremely bad and at times even laughable dialog and second grade actors that deliver the lines.

It has some noir ingredients, especially with its visual style, so this movie should also be called a film-noir, even though I wouldn't regard this movie exactly as a full-blood film-noir. As this movie shows, having film-noir ingredients doesn't guarantee that the movie is always a good and intriguing one.

One thing the movie does handle well is its tension. It knows how to build up certain sequences, even though you don't always understand what is exactly happening. This is also due to the poor quality of the print. The movie is real dark and grainy in parts, so you really literally can't see what is happening at times. But because the movie features a couple of good and tense sequences doesn't mean that the movie as a whole is a very exciting one. On the other hand it however also not a complete bore, since the movie always maintains a good pace.

I am not surprised that this movie is not really a better known one. It's a forgettable film-noir attempt, with a weak story and perhaps even worse story-telling. No, not even the biggest film-noir fans shall enjoy this movie thoroughly.

5/10

http://bobafett1138.blogspot.com/

This picture tries hard to recommend itself and tries hard to be a good Noir. It really does. And I tried hard to like it and recommend it and give it a good rating. Honest. But it won't let you. The plot is too muddled and the Director is not good enough to put it over.

Granted, he had some good actors in Franchot Tone and Myron McCormick. He also had a love interest who was a knockout in Jean Wallace, but she was a chore as an actress - in a climactic scene she flops badly - but what a knockout, to borrow a '40's phrase.

Well, that's about it. Confusing plot and a tepid, preachy story. I stuck with it because it was pouring outside. I gave it a rating of 5, but I gave Jean Wallace a 10...aesthetically speaking.

This 1949 film is interesting on several accounts. First off the movie appears to have been shot primarily on location in New York in the late 1940s. It appears to be the Brooklyn Museum where the finale of the movie takes place.

Franchot Tone plays the lead detective, and Jean Wallace plays a nightclub performer. Tone and Wallace were married at the time of this film, and would make other films together. This is still a few years away from the 1951 love triangle between Franchot Tone, Barbara Payton and Tom Neal, in which Tone was beaten to a pulp by Neal. In the aftermath of that event, Jean Wallace stabbed herself in an unsuccessful suicide attempt. Her and Tone had two children and the public humiliation of Tone and Paytons affair pushed her over the edge. Wallace herself was arrested numerous times in the 50s for drunken behavior.

This film appears to be a social commentary on communism. Though communists are never mentioned, the secret organization bears all the marks of a communist party. Several actors in the film, as well as some who simply had walk ons appear in the film, perhaps as a way of showing how they feel about communism. John Garfield, Marsha Hunt, Marc Lawrence all who were publicly involved in the witch hunts that occured in the late 40s and early 50s appear in this film. Other stars who have minor roles include Burgess Meredith, Marlene Dietrich and Henry Fonda. In the nightclub scene, look in the background for debutante Brenda Frazier, a kind of Paris Hilton of her day.