Category: Golden Age Article

Movie Review: A Close Call for Boston Blackie

A Close Call for Boston Blackie is one of just three Boston Blackie movies starring Chester Morris that are official releases.

In this film, a man is murdered in Blackie’s apartment and his widow escapes, leaving the baby in the care of Blackie and his sidekick Runt. Blackie has to stay one step ahead of Inspector Farraday and his minions.

Chester Morris is charming and funny as Blackie and has a very convincing turn in his disguise. Some of the early scenes reminded me of the radio show but this played things for comedy more than the radio show did and not all of the humor worked. The baby is cute, however most of the humor centering around the child falls flat. Frank Sully (who plays Sergeant Matthews) seems to be trying to be a poor man’s Red Skelton but ultimately doesn’t work. The pace of the first half of this hour-long film drags as it takes forever to get out of Blackie’s apartment. However, the film does become more engaging in the second half.

Overall, the film isn’t bad, but it’s essentially an average detective B movie from the 1940s. It is entertaining due to a strong performance by Morris more than anything else.

Rating: 3.0 out of 5.0

DVD Review: Michael Shayne Mysteries, Volume 1


This two DVD collection collection collects four of the seven Michael Shayne films: Michael Shayne, Private Detective, The Man Who Wouldn’t Die, Sleepers West, and Blue, White, and Perfect. 

These are the cream of the series. Nolan plays Shayne with loads of light-hearted charm and street smarts. In general, the writing is solid as it avoids the flaws of other films in the series that have since been released as solo stories. The films are detective comedies but do a good job providing a great balance between detective story and comedy.

Each film is based on a different book. However, only one of those was a Michael Shayne book. The other three were from other detective writers. While the films have a light comedic touch to them, each is also influenced by its source material and so each feels a little different.

Michael Shayne, Private Detective is the only one based on an actual Shayne book, and it finds Shayne watching an underage heiress who has a bad gambling habit. Shayne undertakes to keep her safe but quickly finds himself mixed up in a murder.

In The Man Who Couldn’t Die, Shayne goes undercover as a woman’s new husband to help her find out the secret behind strange goings on at her father’s estate. This is an atmospheric “old house” mystery with lots of comic misunderstandings thrown in.

Sleepers West has Shayne transporting a key witness on a train where he runs into an old flame and her fiance, who has a secret. Shayne has to keep the witness safe from the mob and also ensure she makes it to the trial. This one becomes a little more drama than mystery towards the end, but has a positive message and a lovely performance by Nolan.

Finally in Blue, White, and Perfect, Shayne pretends to quit the private detective business for the benefit of his fiancee, but in reality he’s going undercover to investigate the theft of diamonds. However, he’s fired from the job after a complaint is lodged against him by the perpetrators (who he can’t prove are guilty), so he does the only sensible thing he can: tricks his fiancee into giving him a thousand dollars so he can book passage on a boat to Hawaii and follow the crooks across the sea,  intending to capture the crooks, claim the reward, and pay her back. This film is enjoyable, particularly for featuring future Superman star George Reeves as a Spanish/Irish mystery passenger, but it is probably a little too convoluted for its own good.

It’s worth nothing that the films all seem to have an obsession with Shayne being Irish, with the theme being an Irish jig and Shayne whistling Irish songs.

Beyond that, the films are incredibly entertaining. The DVD boxset contains a nice booklet, and the CDs are in two slip cases, each with gorgeous artwork related to the films. In addition, there are four mini-documentaries about the Michael Shayne books and movies that make for great viewing for the true mystery fan.

Compared to other mystery box sets, the current $9.99 price on this set is dirt cheap. The reason for the price is that 20th Century Fox packaged the set as a double-sided DVD which is generally a cheap option. That’s ironic because everything else in the set is quite exquisitely done. However, the result of this is that this is a great bargain for fans of classic mystery movies.

Rating: 4.25 out of 5.0

This DVD  is available as a thank you gift for our listener support campaign with a donation of $50 or more through Sunday, March 7, 2016.

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Audio Drama Review: The Avengers, The Lost Episodes, Volume 1


Many TV producers did little to preserve their programs for posterity, leading to many TV episodes from the 1950s being lost to time, perhaps never to be seen again. In the United Kingdom, this continued into the 1960s with many programs lost to the ages due to the BBC’s “wiping policy.” It effected Doctor Who where more than 90 black and white episodes of the series are only available on audios and numerous other series that don’t exist in any form.

The case is worse for the first season of The Avengers. Only two full episodes and the fragment of another exist and no audio exists for the missing programs. The hit TV series was best known for the pairing of the Roguish spy John Steed (Patrick Macnee) with Mrs. Emma Peel (Diana Rigg.) However, Mrs. Peel only joined the series in Season Four. The first season featured Steed fighting alongside Dr. David Keel. What was that season like? Beyond the fragments we had, the entire first season of adventures was lost.

Then Big Finish came along. The company, best known for their Doctor Who dramas, agreed to produce the missing episodes of the Avengers as Audio Dramas and cast Julian Wadham as John Steed, Anthony Howell as Dr. Keel, and Lucy Briggs-Owens as nurse Carol Wilson.

The first volume collects four episodes of The Avengers: “Hot Snow,” “Brought to Book,” “Square Root of Evil,” and “One for the Mortuary.”

Throughout the set, Big Finish does an incredible job creating a sense of authenticity. The background music and soundscape succeed in making the set seem like a well-preserved recording from the 1960s rather than a modern imitation. The direction and acting are authentic to the era. When I listened to these, I found it easy to forget these were recorded in 2013.

The stories themselves are different from the type of stories told in the Steed and Peel era. Episodes from the Steed and Peel era included fantastic plots like a mad tycoon who planned to turn his department store into a nuclear bomb. The early Avengers episodes seemed to enjoy far more typical crime dramas.

The first episode, “Hot Snow,” focuses on drug dealers who  start Keel’s career as a crimefighter by murdering his bride to be.”Brought to Book” has Steed and Keel working to bring down an extortion ring with ties to the hitman that murdered Keel’s fiancee. “The Square Root of Evil” features Steed infiltrating a counterfeiting ring, In “One for the Mortuary,” Keel agrees to carry a life-saving formula to the World Health Organization in Geneva but finds himself in the crosshairs of international ne’er-do-wells who want to steal it for their own ends.

“One for the Mortuary” is the most exciting story in the collection, and it  gives the biggest hint of what was to come for the series with an exciting and dangerous spy game with assassins and international intrigue. The first three were well-produced and well-acted but quite ordinary crime dramas. It’s odd to think the show went from basic undercover work to trying to stop a department store from being used as a doomsday weapon.

The one story that had a significant problem was “The Square Root of Evil.” The reason Steed goes undercover is so he can find out who the Mr. Big is behind the counterfeiting operation. However, the episode ends before Mr. Big is caught or Steed learns who he was. Also, modern listeners may take issue with Keel’s reaction understated reaction to his fiancee’s murder. However, this is true to the era.

Each episode features a short extras segment which provides insight into the production of the set. I found the interview with John Dorney interesting as he adapted the original scripts and he explained the unique challenges in this task.

Overall, the stories are enjoyable and the finale is particularly good. The entire collection manages to recreate four classic TV episodes that we haven’t experienced for over five decades and does so with a great sense of respect and authenticity.

Rating: 4.0 out of 5.0

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Book Review: The Saint Bids Diamonds


The Saint is often called, “The Robin Hood of Modern Crime” but rarely has the phrase meant much. In the Saint movies and radio shows, as well as the most of the Saint TV episodes I’ve seen, he is effectively a crime fighter who fights with his own inimitable style. Of course, early in his career in fiction, the Saint was a bit of a thief, but when I read, The Saint vs. Scotland Yard,I found that early Saint robbing from rich ne’er do-wells but pretty much keeping the prize for himself.

Yet, in,The Saint Bids Diamonds, it all fits quite nicely. The Saint arrives in Spain determined to take on “the ungodly” in the form of a gang of jewel thieves. However, he finds some of the gang beating an old man . He and his thug of a sidekick, Happy, rescue the old man and his daughter. The old man is a jewel cutter that had been enticed by the gang leader to a life of crime and then double crossed and forced to continue to work as a jewel cutter. He escaped when he bought a lottery ticket that won the equivalent of $2 million, which the gang is determined to claim for its own, and it appears that they managed to swipe the lottery ticket from the old man.

The Saint goes undercover with the group to discover they officially don’t have the lottery ticket, the group is drowning in a safe full of jewels and plan to rob the American Ambassador’s wife to increase the pot. The Saint calls it a thieve’s Picnic. Yet, there’s trouble. The lottery ticket and its hope of big instant wealth has got the crooks all trying to double cross one another.

The story really does allow the reader to see the Saint as a mischievous angel against the unscrupulous ungodly, as he concocts one story after another to throw them completely off balance.

The story has some very funny moments. The only time the Saint gets in real trouble is when his self-confidence gets the better of him at the end of the book’s second act.

The Saint also shows his gallantry and sense of honor as he responds to the affections of the jewel cutter’s inexperienced daughter, Christina. Their final scene together is touching and nicely done.

Overall, the plot and characters are both enjoyable. The only weak spot is that much of the story relies on stereotypes about Spain and uses them frequently, as well as a term that has become a charged racial slur, though Charteres didn’t mean it that way at the time.

Despite this is a flaw, this is a fun read and a nice look at the Saint just before he became more like the hero we know him as today.

Rating: 4.5 out of 5.0

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Telefilm Review: Sherlock: The Abominable Bride

***Spoilers Ahead***

Sometimes, the simplest story is the best story. This is something that Stephen Moffat will never quite get. He’s a clever writer and loves clever twists and tricking the audience. Sometimes, the tricks are genuinely clever and delight the viewer, and sometimes they undermine everything viewers have been through and make them feel cheated.. This was true in Doctor Who Series 6, and it’s certainly true of The Abominable Bride. 

The premise of the Abominable Bride as advertised is that it’s Sherlock Holmes done properly. Sherlock set in the Victorian era. And for the first hour, that’s what we got as Sherlock Holmes investigated the case of a woman dressed as a bride who shoots herself in the head is taken to the morgue. Then she shoots her husband and goes on a killing spree across London.

It’s a bizarre story but certainly intriguing fodder for Sherlock Holmes and it goes along along nicely for an hour. We have some good moments, some great humor, and an intriguing mystery. You had all the cast dressed in fine Victorian fashion and Mark Gatiss (playing Mycroft) dressed in a fat suit to match the enormous character described in the book.

However, I saw a problem.  There were so many moments that didn’t ring true to the Victorian era. Why bother doing this story if it wasn’t go to be of the era? But there was an explanation.

***Spoilers Ahead***

And that explanation was?

***Last warning before Spoilers***

It was all a dream. A narcotics-induced dream by the modern Sherlock. We learn that an hour in. We’re told he was extremely hooked on multiple drugs at the end of, “His Last Vow,” in Series 3 however he showed no signs of being high because he’s Sherlock and he’s an addict and you can never tell when a drug addict is so high that they’re going to induce a Victorian dream world. Or the writers just needed him to be high in order to make their vision of the story work.

But it’s not just a dream world, it’s dream worlds within dream worlds.In the first dream world, Sherlock tells us that the crime he’s solving is real and he’s hoping by solving it with an imaginary 19th century investigation to get clues into how Moriarity came back even though he had no way of knowing when he got on the plane that Moriarty was back. However, by the end we’re not even sure of that. Though, we do get back to the investigation eventually and we learn who was behind it.

Militant suffragettes. We’re treated to a speech in which Sherlock explains how a group of militant suffragettes committed the murders and were justified in doing so because men were awful and in the end (for what it’s worth as we don’t know if what’s going on is real), Sherlock lets them go and agrees to have them marked as a failure.

It’s ironic the great big speech about how men are evil oppressors keeping women down was delivered by a man in a room full of silent women serving as a backdrop. While militant suffragettes were a thing in Great Britain, they didn’t really go in for mass murder, more for arson and bombings, though this was mostly during the First World War. Given the state of the world, it’s incredibly socially irresponsible about having Sherlock (and Doctor Watson) giving a tacit wink and a nod to terrorism as a legitimate way of achieving social change.

Certainly, the status of women and their plight in Victorian times could serve a legitimate purpose or point in a Sherlock Holmes story if handled right, but here it’s overbearing and stifles the rest of the Victorian plot.

Of course, the biggest problem is that nothing we see is even real within the context of the story. I guess that makes it a triumph of post-modern storytelling where nothing really has to make sense or have any cohesion as long as you’re deconstructing stuff. The only thing we’re sure is  real is the final scene where modern Sherlock lands, gets off the plane, and has a conversation with his brother. The rest of it is dreams within dreams for a contrived character journey ending with a psychological meeting with Moriarty (Andrew Scott) who was killed off in Series 2. The only good news is that people can skip this episode and miss nothing in terms of future series.

What’s disappointing about this is, unlike most other television series, is this is Sherlock and this is the first episode in nearly two years and it will be more than a year until the next series of episodes.

The main actors are still good, or at least as good as their material will allow them to be, but the material was pretty awful.

At the end of the day, Stephen Moffat should have hired George Mann or Jonathan Barnes (who have both shown they can write proper Sherlock Holmes for Big Finish), or someone of their talent to write a straightforward Sherlock Holmes story set in the Victorian era and had the cast do it in that style. Instead, we get a confused story that borrows from the plot of Moffat’s 2014 Doctor Who Christmas Special “Last Christmas” to produce something far less compelling.

Rating: 1.5 out of 5.0

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