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"Dangerous things," thoughts, they illuminate the uncanny side of fin de siècle Kentucky and unexpectedly situate the young Henry Hathaway between Browning and Tourneur. The gentleman (John Halliday) runs a gambling parlor in his mansion, his "temple of chance" dodges a raid because he's able to see the decision forming in the police chief's mind. (His sixth sense is not to be used for cheating: "That's disgusting. A man with a talent like that, and he develops ethics!") His cat's-eye ring glows to the terror of the Northern architect (Tom Brown) courting his daughter (Judith Allen), a bit of hypnosis knocks the fear out of the lad's brain white accidentally planting a murderous suggestion, he later awakens with blank memory and smoking gun. The former judge (Guy Standing) will not come out of retirement for the case, a spectral visit changes his mind. "You've been in your grave for nearly thirty years, yet who should say your spirit was not in this room tonight to drag an old man from his fireplace and carpet slippers?" Hitchcock's Murder! figures in the structure, the panning introduction of the courtroom yields to the veteran attorney resting before the session, opening one eye to slyly size up his opponent. Glowing close-ups in champ-contre-champ shot against darkened backgrounds embody the protagonist's mental powers, the doubting jury foreman (William Frawley) receives the mesmeric effect. The verdict is heard from behind a closed door, the true resolution rests with a codger's spiritual remembrance. "Do you like fiction as well as textbooks?" Peter Ibbetson the following year confirms the rugged journeyman's mystical streak. With Olive Tell, Richard Carle, Ralf Harolde, Purnell Pratt, Frank Sheridan, Gertrude Michael, and Ferdinand Gosttschalk. In black and white.
--- Fernando F. Croce |