The Golden Age Of The B-Film Noir- Dane Clark’s “Blackout” (1954)

The Golden Age Of The B-Film Noir- Dane Clark’s “Blackout” (1954)

DVD Review

By Film Critic Emeritus Sam Lowell

Blackout (released in England as Murder By Proxy), starring Dane Clark, Belinda Lee, Hammer Productions, 1954

Wouldn’t you want a long-time film reviewer like me, or my colleagues in this space who are the regular reviewers, Sandy Salmon and Alden Riley, to draw a map for you, let you know what is what about any particular film in relationship to others in the genre. As the headline to this review notes (and has on other occasions in this ten film series) I am reviewing a series of B-film noirs from the 1950s produced by the Robert Lippert organization in conjunction with Hammer Productions in England. The idea, at least this is what I have been able to gather from various readings and speculations after now having reviewed scads of these efforts, by Lippert was to grab some faded Hollywood star who either needed the dough or was looking for some film, any film to satisfy whatever stardust lust drove him or her to the studio lots in the first place and back him or her up with an English cast, do the production in England and get away with costs on the cheap. If you knew that and then somebody, me, came along and told you that these efforts didn’t compare, didn’t compare at all with classic noirs, you know Out Of The Past, The Big Sleep, The Maltese Falcon, The Last Man Standing and others that you almost know all the lines from since you have seen the films so many times, wouldn’t you appreciate that knowledge   

You would think so but you would at least in one case, actually more, but the reader I am thinking of as I write this has become something of a thorn in my side, my efforts to draw comparisons have given me nothing but grief, and had hung on me the title of “penny a word” writer as a joke by my colleagues. 

In noted in my last review in this series, The House Across The Lake, that in my long career in the film reviewing racket, a profession if you will which is overall pretty subjective when you think about it, I have run up against all kind of readerships and readers but my recent escapade with one reader takes the cake as they used to say in the old days. That is the person I am thinking of right now as I write yet another screed against the injustice done to be by that person. To cut to the chase a B-grade film noir is one that is rather thin on plotline and maybe film quality usually made on the cheap although some of the classics with B-film noir queen Gloria Grahame have withstood the test of time despite that quality. I have contrasted those with the classics like The Maltese Falcon, Out Of The Past, The Big Sleep, and The Last Man Standing to give the knowledgeable reader an idea of the different.

I have as already noted done a bunch of these (excluding a couple which I refused to review since they were so thin I couldn’t justify the time and effort to even give the “skinny” on them) using a kind of standard format discussing the difference between the classics and Bs in some detail and then as has been my wont throughout my career giving a short summary of the film’s storyline and maybe a couple of off-hand comments so that the readership has something to hang its hat on when choosing to see, or not see, the film. All well and good until about my fifth review when a reader wrote in complaining about my use of that standard form to introduce each film. Moreover and this is the heart of the issue she mentioned that perhaps I was getting paid per word, a “penny a word” in her own words and so was padding my reviews with plenty that didn’t directly relate to the specific film I was reviewing.

Of course other than to cut me to the quick “penny a word” went out with the dime store novel and I had a chuckle over that expression since I have had various types of contracts for work over the years but not that one since nobody does that anymore. The long and short of it was that the next review was a stripped down version of the previous reviews which I assumed would satisfy her complaint. Not so. Using the name Nora Charles, the well-known distaff side of the Dashiell Hammett-inspired film series The Thin Man from the 1930s and early 1940s starring William Powell and Myrna Loy, she still taunted me with that odious expression of hers. (I also mentioned there as an aside that one of the pitfalls of citizen journalism, citizen commentary on-line is that one can use whatever moniker one wants to say the most unsavory things and not fame any blow-back). Now Sandy, Alden, Pete Markin, the administrator of this space and a few others have started to call me that as well-‘hey, penny a word.” That has made my blood boil on more than one occasion but I have calmly put up with it rather than blow-up and threaten murder and mayhem to them-and to Nora.      

But enough of that or Nora will really have case about me “padding” my reviews. Here is the “skinny” on the film under review Blackout in any case as is my wont and let dear sweet Nora suffer through another review-if she dares. (This film was released in England and on the continent as Murder By Proxy which unusually in this series is not closer to the nub of the plot since in fact a the lead man character, Dane Clark, does blackout and face serious consequences for that hard fact and has to face all kinds of hell) A down and out drunk Casey, the role played by down and out faded Hollywood star Dane Clark picked up on the cheap by Lippert and who was so “from hunger” he starred in a few of these B-babies not necessarily to his career advantage) was sitting in a bar (a nice bar, maybe classy too, since it had a female blues torch singer up on stage as the film begins which may have been the cinematic and thematic highlight of the whole venture) putting a load on when a beautiful young woman, Phyllis, played by fetching Belinda Lee, comes up to his table and before long makes him an offer he can’t refuse. No, not that, not something sexual which would be catnip for most guys once they got a look at her but an offer for him to marry her for a pile of dough so she can grab some inheritance money from a stingy father. Offers him serious dough, serious dough then anyway but as I have mentioned more than once in previous reviews nothing but cheapjack walking around money these days. Offers him five hundred pounds, pounds sterling which in those heady English days was maybe twenty-five hundred US, and I don’t know and it doesn’t matter now post-Brexit how many Euros. He bites and she drags him out of the gin mill and to a preacher man or justice of the peace maybe better to tie the profitable knot.

Easy dough, real easy for a down and out guy who had a drinking problem and was out of cash-flush. Easy, except for one problem, he winds up in a Gainsborough apartment, you know an artist’s apartment, female, an apartment of a woman who had started a portrait of Phyllis and can’t remember a thing about the night before except he had blood on his coat. Which is not good, very not good, since Phyllis isn’t easy to find and moreover her father had been murdered by a party or parties unknown that night before. So yes the coppers and everybody else have him set up as the fall guy, as the guy to take the big step-off, the guy to be hung high as they used to say. But not so quick because under the threat of the gallows Casey gets “religion” gets on the case to find out who actually did kill poor Phyllis’ father. Through a series of twists and turns with various shady characters he eventually finds out the real killer-the wife, the mother, as usual since she would be left out of the goodies if Phyllis grabbed all the dough. Here is the funniest twist old Casey after having more than a few suspicions about Phyllis winds up in the sack with her (and her bag of dough) which is okay for 1950s film censors since remember they were married- a legal marriage at it turned out.                

For a while the film took turns like a real thriller but the dialogue and the wooden acting by the Brits (and by faded Dane in spots too too) make this thing a holy goof. As I have mentioned before in other reviews where things looked promising at the beginning here despite the come hither title and the titillating advertisement poster (see above) for the film this one fades away on its own dead weight. B-noir but seriously B not heading to classics-no way.