Hollywood Story

I got this film because I like 40s/50s mysteries, because I like Richard Conte, and because it was directed by William Castle and thus HAD to be interesting. Actually, it is an excellent little mystery. New York-based producer Conte comes out to LA to make some films and rents an old studio building that hasn't been used since the silent era (which was only 22 years ago at the time of this film). The last year of silents, 1929, a major silent director was killed at the studio, and the case has never been solved. Conte decides to research the director and the murder for a film plot--he digs up a few of the people who worked at the studio and learns more about the mystery... while a new mystery starts to develop and the guilty party from 1929 starts to cause trouble again. It's as cleverly plotted as the best Columbo or Perry Mason episode, and Conte as always is powerful and sympathetic. He was one of the great post-WWII stars and his work should be revived today--watch THE BROTHERS RICO sometime! Great supporting cast with Jim Backus, Richard Egan, the lovely Julie Adams, and silent star and 30s independent-film regular William Farnum. It's always good to be pleasantly surprised by a film that delivers much more than you expected, and this is such a nice little mystery. It's not on video or DVD, but keep your eye out for it.

Producer Richard Conte comes to Hollywood to make his next picture. While he's figuring out a subject, he rents an old studio. The guard tells him about a director murdered at the dawn of sound, still unsolved. Conte decides that will make a terrific picture. High school friend and now Hollywood agent Jim Backus hates the idea, as does Conte's partner Fred Clark. Julia Adams, the daughter of a movie star with whom the dead man was linked, asks him to drop it. Even police detective Richard Egan comes by to quiz Conte and tell him it's a terrible idea. conte persists, even hiring the dead director's washed-up screenwriter, Henry Hull. Then there is another murder...

It's a canny, nostalgic movie directed by William Castle, who knows how to evoke old Hollywood without getting trapped in antiques. The studio that Conte rents is Chaplin's studio, and there cameos for a Betty Blythe, a Francis X. Bushman, and William Farnum. The mystery, although far from the William Desmond Taylor murder that inspired it, is nicely constructed, with some decent red herrings. It's a fine example of the unassuming picture that does everything you so right that that it becomes a minor masterpiece.

Richard Conte plays Larry O'Brien, a New York-based film producer who moves to California to make his first L. A. picture. There, he becomes obsessed with the legend of an unsolved murder. Silent film director Franklin Ferrara was killed in his studio bungalow, and over 20 years later, the culprit remains unrevealed. Larry hopes that by producing a film on the subject, he can bring this cold case back into the light.

With a top supporting cast including the lovely Julie Adams, Richard Egan, Henry Hull, Fred Clark, Jim Backus (whose agent character also narrates the story), Houseley Stevenson, Paul Cavanagh, Peter Brocco, and Katherine Meskill, this Tinseltown mystery is no great shakes, but it entertains quite well for a decently paced 77 minutes. It offers no major surprises, up to and including the identity of the killer, but it keeps the viewer engrossed, and director William Castle does a fine job of creating that classic Hollywood feel. That's complete with brief cameo appearances by Francis X. Bushman, Betty Blythe, William Farnum, Helen Gibson, and Joel McCrea, who all play themselves.

Overall, the movie is a nice, atmospheric mix of nostalgia & suspense, and is sure to entertain audiences who favor this "Old Hollywood" era. Conte makes for a personable lead, playing a savvy, stubborn (he's not to be deterred from his mission) man with deductive abilities to rival that of the actual detective on the case (Egan). Good fun.

Seven out of 10.

This movie is a double tribute to the old silent Hollywood era. First because the topic is a mystery oriented scheme and looks very like many late twenties and early thirties movies. There were many mystery tales during this period, the early talkies. The second element that makes me say this film is a tribute to the old Hollywood is the topic itself, concerning a crime commited in 1929 when the movie takes place in the fifties. You see the old shooting lots, old stars such as William Farnum and a couple of other silent era stars as cameo appearances. This kind of movie in the early fifties is rare,but in the seventies, there were some TV movies also evoking old stars in the SUNSET BOULEVARD scheme, and unsolved murder mysteries. A good unusual and brilliant topic for an Universal Studios production, with for once Richard Conte in a non gangster nor hard tough cop role.

Supposedly based on a real unsolved Hollywood murder, Hollywood Story tells the story of film director Larry O'Brien (Richard Conte), who's leases on old, abandoned studio for his next movie. The studio was the scene of an unsolved murder and O'Brien decides the story would make a good film. As he starts poking around and asking questions about the murder, it becomes apparent that someone doesn't want the film made. After a couple of attempts on his life, O'Brien realizes that he's on the right track to actually unmasking a killer.

Overall, I found Hollywood Story to be an entertaining film with an interesting plot, good acting, and nice production values. More of a mystery than a true film noir, there are plenty of plot twists to keep things interesting throughout the 77 minute runtime. The "old" Hollywood locations are a nice touch and add to the film's authentic feel. As expected, Richard Conte is rock solid in the lead. It was great seeing him play the good guy for a change. It was also nice seeing Julie Adams in a film where she's not being stalked underwater. As much as I love her in Creature from the Black Lagoon, it's odd I can't remember seeing Adams in much else. The supporting cast (Jim Backus, Richard Egan, Fred Clark) add a lot to the experience. And special mention to the cast, particularly cinematographer Carl Guthrie. I'm starting to sound like a broken record, but these Universal films from the 1940s look so good. Absolutely beautiful.

Finally, I need to mention director William Castle. Until just recently, I only knew Castle from his 1960s era horror output. I really enjoy many of these movies like House on Haunted Hill, Homicidal, and I Saw What You Did. But, as I'm learning after watching Hollywood Story and Undertow, there's so much more to Castle than I imagined. He made a load of films prior to the 60s just waiting for me to discover. How fun is that!

7/10.