Dr. Christina J. Johns


I Love Trouble (1947-48)


Starring Franchot Tone (43 at the time), Janet Blair, Adele Jergens and a small part for Raymond Burr.

Directed by S. Sylvan Simon.

Music by George Duning

Costumes (gowns) by Jean Louis

This is a long movie (2 hours) but well worth the watch. It is the studio’s try out of Franchot Tone’s for a private detective series. While Tone is usually fun to watch, I don’t think he has the same sort of edge as the noir detective Dick Powell had or the charm of William Powell.

As most of the reviewers point out, this script is straight out of the Chandler/Hammett line of novels with the suave, wisecracking detective, but it is well worth watching.

My favorite lines from the film are:

Heavy: This is a gun in your back.

Tone: Yeah, I’ve seen one before.

The filmscript was written by Roy Huggins and was based on his novel “The Double Take.” This same character, Stuart Bailey, was played years later by Efrem Zimalist Jr. in the television series 77 Sunset Strip.

Huggins created a number of the most famout TV movie series - Maverick, The Fugitive, The Rockford Files, and 77 Sunset Strip.

I thoroughly enjoyed this movie. I did, however, stop it at one point and noticed that there was an hour and 8 minutes more to go. I was surprised. Some of the reviewers criticized the movie for the length, but it held my attention throughout.

It’s a bit amazing that the film does hold the attention since the plot is as one reviewer noted “confounding.” He said that he could not “figure out who was who in this impossibly complex story.”

This makes the film very much like “The Big Sleep,” which created a template for the detective film noir. “The Big Sleep” is also widely considered to be impossible to decipher, but completely enjoyable nevertheless.

Part of the difficulty in understanding the story line in this film is that even though Huggins adapted his own novel, and some of the scenes are lifted directly from the book, the story (according to a reviewer who had read the novel) has been speeded up and abbreviated and some of the names changed.

It doesn’t help that most of the women look extraordinarily alike. And most of them have multiple identities in the plot. One of the reviewers noted: “I thought the various babes were all the same person.” And, there are a lot of babes all with complicated histories.

Added to this is the fact that the two foreign husbands also looked just alike to me and their accents were indeterminate.

A number of the reviewers just could not accept Tome in the role of a smart mouthed, hardnosed detective. I have always thought Tome was an acquired taste, and he is truly dreadful in films which I suspect he detested.

(Note: There is one film he made with Joan Crawford, for example, where they had him dressed up in lederhosen.)

As one reviewer noted: “All the sweeping fedoras and dangling cigarettes in the world can't make Tone fit into this role.”

Tome always considered the business of film making as invasive to the private lives of the actors. He also felt that films required a totally different pace from theatre performances. I never saw him in a theatre performance, but I suspect he never quite felt comfortable with the film pace.

When he was married to Joan Crawford she (predictably) tried to take over promoting his career. Tome, however, was always more interested in theatre, even in small productions than film. It is thought that this difference between the two was one of the reasons for their divorce.

So, to me, Tome’s performances always have a “hostage” feel to them. I get the impression that he doesn’t really want to be where he is. But, he usually manages to pull off a credible performance.

When some heavies were beating up on Tone, I thought I saw Raymond Burr lurking on the sidelines. When the man spoke (he has about three lines) there was no mistaking it was Burr. This was an extremely small part and Burr would have been 31 at the time this film was made. So, he came into prominence a lot later in his life than I remembered.

All the prints of “I Love Trouble” were thought to have been lost for decades. A restored version of it was shown in a film festival in 2007, and I think this is the first time it has been shown on television (TCM). One reviewer snarked that this movie wouldn’t have received a second glance if it hadn’t been thought lost. I disagree. I think it is a fun romp even at two hours.

One of the other things I noticed in the film and then read comments about from other reviewers is the soundtrack. As one of the reviewers put it, the soundtrack tries way too hard to give the viewer advanced notice of the tone of the scene. The soundtrack tries to be “the star of the film.” It does signal lightheartedness, like when Bailey crawls out from under a bed where he has passed out and finds a beautiful babe in the bed. And it gives advance warning of danger. It seems to me that audiences in 1948 would have been too sophisticated for this. One of the reviewers thought that this soundtrack was so invasive and insulting he couldn’t watch the movie. But, for me, it faded into the background.

The film was well directed by S. Sylvan Simon. One of the reasons that name is not more familiar is that he died only three years after making the movie at the age of 41.


Wikipedia, IMDB



Kiss of Death (1947) ColeenGray

Posted on February 17, 2021 at 4:25 PM





Coleen Gray who made “Kiss of Death” with Victor Mature in 1947, helped Eddie Muller (TCM Film Noir Host) write the book “Dark City Dames” (2001)

The following are notes from the section of the book written about Coleen Gray.

Gray started out her career wanting to play “bad girl” parts. But, casting directors didn’t see her as a femme fatal. She just looked (and I would guess) acted too wholesome. A native of Nebraska, everything about her just screamed small town, naive and wholesome.

Her first appearance in a film was a bit part in “State Fair” where she said one line: “Hey, Pappy, there ain’t two seats together.” She told Muller: “I was a Minnesota cornball if there ever was one.”

In “Kiss of Death” her first real role, she wasn’t exactly a “cornball.” She played the former babysitter of hoodlum Victor Mature’s children. While getting involved with the babysitter might sound racy, Mature’s wife was conveniently dead by the time Gray showed up in the movie. And, she is engaged in an act of mercy. She is visiting Mature in prison to tell him his children are alright. Romance follows shortly after when Mature is paroled. Gray and Mature get married and for the rest of the film, Gray plays the loyal and concerned housewife and step-mother.

It wasn’t until four years later, that Gray was cast in “Sleeping City” (1950) and had her chance to play a character on the other side of the law. But, even in this part, she is cast as a nurse, dressed in the crisp white uniform. And, her involvement with the underworld drug trade is only to get enough money for her kid sister’s operation. Underneath, her character has a heart of gold.

“I was always Goody Two-shoes.” She is quoted as saying in Muller’s book.

Gray admittedly had big self-esteem problems. While she was making a film, she was backstage in her dressing room, reading the want ads, convinced that she would never get another part.

“I was always surprised when they cast me in another picture” she told Muller.

By the time she made Sleeping, she was a mother and Fox had failed to renew her contract. She was working as an independent. By that time as well she and her first husband Rod Amateau were separated.

Amateau had been working as a writer at Fox. He was assigned to handled Gray when she made her first screen test. They were soon a couple, each looking out for the other’s career. When they got married, Gray said, Rod refused to allow her to eat a slice of the wedding cake. He had heard people around the studio talking about her being too fat to be considered a starlet.

This brings to mind the stories about how the studio virtually tortured Judy Garland over her weight. Garland’s drug abuse problems were in part started when the studio demanded almost 24 hour a day work and a starvation diet.

Gray descried her relationship with Amateau as being difficult. He was “bombastic” and liked confrontation. Gray didn’t’. He would yell and argue and she would “internalize” all the negativity. The relationship which started when she was making Kiss of Death, was over by the time she made Sleeping.


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