Was getting to some Baroque for DAD when suddenly, this film came up and as I had no film, thought it best to lasso and play … looks like western … until it started … restaurant, a killing … away we go.
“Producer: Maurice Geraghty. Copyright 17 March 1944 by RKO-Radio Pictures, Inc. New York opening at: 17 March 1944. U.S. release: March 1944. Australian release: 20 July 1944. 5,910 feet. 64 minutes.
SYNOPSIS: When a wealthy cattleman dies in a New York nightclub, the murdered man’s fiancée, accompanied by The Falcon, entrains for Texas.
NOTES: Number eight in the sixteen-picture “The Falcon” series. (The numbering in the book The Great Movie Series is incorrect. There is a teaser for The Falcon in Mexico at the end of this movie, although the heroine in the movie itself is actually enacted by Mona Maris, not Zedra Conde).
COMMENT: A novel entry in the series. True, the identity of the killer is pretty obvious. So obvious indeed that most audiences will discount that suspect as a possibility and look for someone else. So the suspense is well maintained nonetheless, and there are plenty of thrills on the way. Also the western setting allows for some new wrinkles on the urban mystery formula. An edge-of-the-seat stagecoach ride comes as a standout. And we like the way The Falcon handles himself on the box seat and in the saddle.
Romance is provided by an attractive trio, headed by Carole Gallagher (a new girl on the block, this is her only starring role. In fact she is credited in only two other movies: Hit Parade of 1947 and 1948’s The Denver Kid, in both of which she has only minor roles. A pity! She’s a lovely girl and fine actress).
Edward Gargan (pronounced “Garrigan”) makes the most of some worthwhile material handed him by the scriptwriters and holds up the humor end with ease. We love his running gag with the educated Indian.
Tom Conway, the perfect Falcon, maintains his usual suave composure, and receives excellent support from Cliff Clark (the detective), Donald Douglas (the lawyer), Minor Watson (the chief suspect), Barbara Hale (the suspect’s pretty daughter), and Joan Barclay (the murdered man’s ex-wife).
The direction by William Clemens is highly competent (if unobtrusive), while Harry J. Wild contributes the creative, consistently skillful photography.”