21 reviews
When I was growing up, pre-television, we used to listen to many radio shows. One of these was The Fat Man, starring J. Scott Smart. This, as with some other radio shows, was made into a movie. The casting of Smart in the title role was good, since he looked the part and the sound was identical to the radio program.
In virtually every radio show, Bradford Runyan is hired to solve a crime; the film carries on the tradition. However, the radio program lasted for only a half hour, and even though there was a "time compression" effect, there was time to do significantly more in the film. As an example, Runyan asks a lady to dance, and when she accepts, he acquits himself well. That could never have worked on the radio program, to be sure.
For those of us who remember the program, there's a lot of nostalgia in the film. For those who never heard the show (such as my wife), it's still okay, but probably not as valued.
In virtually every radio show, Bradford Runyan is hired to solve a crime; the film carries on the tradition. However, the radio program lasted for only a half hour, and even though there was a "time compression" effect, there was time to do significantly more in the film. As an example, Runyan asks a lady to dance, and when she accepts, he acquits himself well. That could never have worked on the radio program, to be sure.
For those of us who remember the program, there's a lot of nostalgia in the film. For those who never heard the show (such as my wife), it's still okay, but probably not as valued.
William Castle is today mostly remembered for his clever exploitative gimmicks, which made horror films like "Macabre," "House on Haunted Hill," "The Tingler," etc., both terrifying and fun.
But he started out making movies in another tradition—noir. Without gimmicks.
In 1951's low-budget "The Fat Man," made for Universal, Castle borrows from another medium, taking a popular radio mystery program and transforming a broadcast melodrama into an exciting yet droll movie thriller, with unexpected pleasures.
His lead, the basso profundo J. Scott Smart, is exceptionally good in his role as Brad Runyon, alias The Fat Man, a private detective who is not your average PI. Brad is a well-spoken, well-read, pleasure- loving, sweet-tempered, middle-aged, 270-lb mountain of a man wearing a quirky moustache right out of a Nineteenth-Century daguerreotype.
However, The Fat Man is neither a hog nor a dunce. J Scott Smart's full and fine performance turns an unconventional private eye into a charming and intelligent investigator who is much cleverer than anyone else around him. (He's also tough when need be, packing a snub-nosed .32, and even graceful when the occasion calls for it, wowing with his agile and bouncy, if pachydermic dance steps.)
After her employer is found dead, dental nurse Jayne Meadows (in real life, married to pioneering late night TV host Steve Allen) seeks out the food-loving Fat Man, who, in an entertaining intro, is showing a collection – a mélange, if you will -- of a great many chefs how to not spoil the broth.
Certain dental records are missing, and the nurse believes this may have something to do with the dentist's death. (Meadows plays the dental nurse with sympathy and with more than a little sadness.)
The unusual details of the dentist's death and his nurse's obvious distress hit a nerve, and The Fat Man takes on the case for nothing! (Always interested in filling himself, he just can't brush off such a toothy puzzle.)
The trail of the missing dental X-Rays leads Private Eye Runyon from New York City to California -- and to an ex-con, nicely played by a young Rock Hudson.
A sensible professional, Runyon works closely with the police, who cooperate courteously, if warily. Detective Lt. Stark, well-acted by Jerome Cowan, who himself a decade earlier had played Sam Spade's doomed partner in "The Maltese Falcon," treats him as a colleague, a refreshing change from the usual movie thriller adversarial relationship of PI vs. police.
However, another movie tradition, the great sleuth's assistant who is dumber than a pound of wet liver, is still upheld. In a nicely comic turn, Clinton Sundberg handles the chores this chowderhead is saddled with a sweet enthusiasm, submitting to all sorts of indignities with a cheerful grace. Take note that nowhere in this movie does he get a salary check or even a tip.
But The Fat Man has more to worry about than meeting a payroll. He has to sift through a couple more murders, outsmart a den of thieves, figure out the answers to an unsolved half-million-dollar armored car heist involving a posse of rent-a-cops, and face a mysterious, rather scary pratfall of clowns. (In much more than the usual gratuitous guest-star appearance, famous clown Emmett Kelly pops up here in a fully-realized three-dimensional portrayal. He even speaks – and well, at that!)
The plump private eye is put on the trail of a night-club entertainer played by the sultry Julie London, who possesses a valuable secret. Vulnerable under her veneer of hardness, the sensual beauty, who, in real life, was married to TV cop Jack Webb, sends Runyon in the right direction, leading eventually to an exciting show-down which is both scary and surrealistic.
Cameraman Irving Glassberg (celebrated for being one of the discoverers of Clint Eastwood) allocates his limited budget prudently, nourishing the film's noirishness with skill and finesse. His intelligent camera moves restlessly across patterned floors, picking up random gleams from the polished glass and metal of an elegant hotel lobby late at night, the few humans abroad seen as ominous shadows.
A circus subtheme effectively adds still another dimension to the film. At one point, for instance, the Fat Man rents a British two- seat sports car -- an MG or a Morgan -- that looks like it may be too tiny for a five-year-old, let alone a behemoth like himself. As he shoehorns himself into the tiny car, which isn't much more than a roller skate with a motor, you can practically hear it groan. The camera mercifully looks away, before we learn how he manages to squeeze out of it.
In another telling, even unsettling scene, what looks to be a whole platoon of bank guards in black SS-like uniforms tumble out of an armored truck, like one of those teeny-weeny circus clown cars that can hold an entire sideshow of grease-painted circus clowns plus their painted poodles and made-up monkeys plus a lifetime supply of inflated balloons .
Filmed only a few years after the Second World War, in crisp black and white, "The Fat Man," though an unpretentious B movie that sort of got lost in the crowd, is a rich chowder of admirable acting and appealing directorial details. Without gimmicks.
But he started out making movies in another tradition—noir. Without gimmicks.
In 1951's low-budget "The Fat Man," made for Universal, Castle borrows from another medium, taking a popular radio mystery program and transforming a broadcast melodrama into an exciting yet droll movie thriller, with unexpected pleasures.
His lead, the basso profundo J. Scott Smart, is exceptionally good in his role as Brad Runyon, alias The Fat Man, a private detective who is not your average PI. Brad is a well-spoken, well-read, pleasure- loving, sweet-tempered, middle-aged, 270-lb mountain of a man wearing a quirky moustache right out of a Nineteenth-Century daguerreotype.
However, The Fat Man is neither a hog nor a dunce. J Scott Smart's full and fine performance turns an unconventional private eye into a charming and intelligent investigator who is much cleverer than anyone else around him. (He's also tough when need be, packing a snub-nosed .32, and even graceful when the occasion calls for it, wowing with his agile and bouncy, if pachydermic dance steps.)
After her employer is found dead, dental nurse Jayne Meadows (in real life, married to pioneering late night TV host Steve Allen) seeks out the food-loving Fat Man, who, in an entertaining intro, is showing a collection – a mélange, if you will -- of a great many chefs how to not spoil the broth.
Certain dental records are missing, and the nurse believes this may have something to do with the dentist's death. (Meadows plays the dental nurse with sympathy and with more than a little sadness.)
The unusual details of the dentist's death and his nurse's obvious distress hit a nerve, and The Fat Man takes on the case for nothing! (Always interested in filling himself, he just can't brush off such a toothy puzzle.)
The trail of the missing dental X-Rays leads Private Eye Runyon from New York City to California -- and to an ex-con, nicely played by a young Rock Hudson.
A sensible professional, Runyon works closely with the police, who cooperate courteously, if warily. Detective Lt. Stark, well-acted by Jerome Cowan, who himself a decade earlier had played Sam Spade's doomed partner in "The Maltese Falcon," treats him as a colleague, a refreshing change from the usual movie thriller adversarial relationship of PI vs. police.
However, another movie tradition, the great sleuth's assistant who is dumber than a pound of wet liver, is still upheld. In a nicely comic turn, Clinton Sundberg handles the chores this chowderhead is saddled with a sweet enthusiasm, submitting to all sorts of indignities with a cheerful grace. Take note that nowhere in this movie does he get a salary check or even a tip.
But The Fat Man has more to worry about than meeting a payroll. He has to sift through a couple more murders, outsmart a den of thieves, figure out the answers to an unsolved half-million-dollar armored car heist involving a posse of rent-a-cops, and face a mysterious, rather scary pratfall of clowns. (In much more than the usual gratuitous guest-star appearance, famous clown Emmett Kelly pops up here in a fully-realized three-dimensional portrayal. He even speaks – and well, at that!)
The plump private eye is put on the trail of a night-club entertainer played by the sultry Julie London, who possesses a valuable secret. Vulnerable under her veneer of hardness, the sensual beauty, who, in real life, was married to TV cop Jack Webb, sends Runyon in the right direction, leading eventually to an exciting show-down which is both scary and surrealistic.
Cameraman Irving Glassberg (celebrated for being one of the discoverers of Clint Eastwood) allocates his limited budget prudently, nourishing the film's noirishness with skill and finesse. His intelligent camera moves restlessly across patterned floors, picking up random gleams from the polished glass and metal of an elegant hotel lobby late at night, the few humans abroad seen as ominous shadows.
A circus subtheme effectively adds still another dimension to the film. At one point, for instance, the Fat Man rents a British two- seat sports car -- an MG or a Morgan -- that looks like it may be too tiny for a five-year-old, let alone a behemoth like himself. As he shoehorns himself into the tiny car, which isn't much more than a roller skate with a motor, you can practically hear it groan. The camera mercifully looks away, before we learn how he manages to squeeze out of it.
In another telling, even unsettling scene, what looks to be a whole platoon of bank guards in black SS-like uniforms tumble out of an armored truck, like one of those teeny-weeny circus clown cars that can hold an entire sideshow of grease-painted circus clowns plus their painted poodles and made-up monkeys plus a lifetime supply of inflated balloons .
Filmed only a few years after the Second World War, in crisp black and white, "The Fat Man," though an unpretentious B movie that sort of got lost in the crowd, is a rich chowder of admirable acting and appealing directorial details. Without gimmicks.
- grainstorms
- Nov 1, 2017
- Permalink
The Fat Man opens with the murder of a dentist. We spend a good chunk of the next hour wondering not so much who did it, as why. It's a fairly straightforward plot, but one with many threads and characters, including a clown, some dental records, a just-released convict who comes into some money and then disappears, and a police detective who—unusually for private eye movies—is open, cooperative, and even intelligent!
J. Scott Smart looks comfortable in the role of Brad Runyan, aka the Fat Man. Familiar faces fill the rest of the cast, including Jayne Meadows in a good serious role as the dentist's nurse; Jerome Cowan as the helpful if bemused policeman; Clinton Sundberg as a kind of goofball assistant; and an eager-looking young Rock Hudson as the con and Julie London as his sometime girlfriend.
The Fat Man was apparently a radio detective making a jump to movies that didn't take; not having any familiarity with the radio program, I can only say that this portly detective is considerably more physically active than the obvious comparison: whereas Nero Wolfe rarely emerges from his brownstone on 35th Street, Brad Runyan thinks nothing of hopping a flight to California, risking life and limb in a shootout, or even dancing in a nightclub. (He does, however, share Wolfe's passion for fine food.) To put it another way—Smart as Runyan is easily closer akin to William Conrad as Cannon than Conrad as Wolfe.
The film as a whole offers bits of humor, some action, and a pretty fair mystery with quite a well done climactic scene. If they had indeed turned this into a series, I would seek out the other entries; however, I'm afraid 1951 was not the right time to start a detective series—at least, not one for the big screen.
J. Scott Smart looks comfortable in the role of Brad Runyan, aka the Fat Man. Familiar faces fill the rest of the cast, including Jayne Meadows in a good serious role as the dentist's nurse; Jerome Cowan as the helpful if bemused policeman; Clinton Sundberg as a kind of goofball assistant; and an eager-looking young Rock Hudson as the con and Julie London as his sometime girlfriend.
The Fat Man was apparently a radio detective making a jump to movies that didn't take; not having any familiarity with the radio program, I can only say that this portly detective is considerably more physically active than the obvious comparison: whereas Nero Wolfe rarely emerges from his brownstone on 35th Street, Brad Runyan thinks nothing of hopping a flight to California, risking life and limb in a shootout, or even dancing in a nightclub. (He does, however, share Wolfe's passion for fine food.) To put it another way—Smart as Runyan is easily closer akin to William Conrad as Cannon than Conrad as Wolfe.
The film as a whole offers bits of humor, some action, and a pretty fair mystery with quite a well done climactic scene. If they had indeed turned this into a series, I would seek out the other entries; however, I'm afraid 1951 was not the right time to start a detective series—at least, not one for the big screen.
The odd subtexts for this film are probably what has buried it. 1. It is based on a popular radio show that sold itself as "created by Dashiell Hammett." Actually the nickname "Fate Man" was that of Gutman, one of the baddies in the Maltese Falco; the character of the radio "Fat Man" was developed out of the otherwise nameless Hammett character "The Continental Op," hero of the Dain Curse and Red Harvest. But in 1951, when this film was about to be released, Hammett was getting sent to prison for thumbing his nose at the McCarthy-era 'House UnAmerican Activities Committee' witchhunters, so his name doesn't appear in the credits (at least not the copy I've seen). 2. With reference to Hammett removed, the character is redefined; while the character remains a tough private eye, he now has acquired a gourmand's taste for good cooking - an obvious reference to the popular Nero Wolfe Character - as well as a shadow of Wolfe's sidekick, Archie Goodwin. 3. This is an early film with Rock Hudson, and it is clear where he was intending to go with his career - a Montgomery Clift without the angst - but just as clearly he decided to change directions - too bad, he's actually quite good in this. 4. This is William Castle before he decided to throw himself wholeheartedly into gimmicky horror movies, and it reminds us that he could be a very capable director when he wanted to be. 5. That the a lead baddie is played by legendary clown Emmett Kelly probably doesn't mean much today, but it's certainly worth a footnote for those interested in the history of clowns.
The story, dialog and acting are all solid; the camera-work, lighting and design are nothing special but certainly competent. The pacing is pretty good. The film keeps its suspense up and provides enough twists to be a real detective mystery. Overall a satisfying mystery from the era when such could still be made.
The story, dialog and acting are all solid; the camera-work, lighting and design are nothing special but certainly competent. The pacing is pretty good. The film keeps its suspense up and provides enough twists to be a real detective mystery. Overall a satisfying mystery from the era when such could still be made.
- bkoganbing
- May 18, 2013
- Permalink
Of course, this film has nothing to do with the Thin Man series over at MGM, but it does give us a detective with a similar moniker - "The Fat Man" AKA Brad Runyan who is doing plenty of gourmet cooking and eating when he isn't solving mysteries.
Things start with a bang as a man enters the hotel room of a dentist attending a convention, knocks him unconscious, throws his body out of his high rise room to make it look like an accident, and steals a dental plate the dentist was planning to show at the convention. So the dentist's assistant (Jayne Meadows) goes to Runyan and tells him she feels like she is being watched, plus the dentist had made an appointment with Runyan for reasons unknown. When someone tries to attack the assistant, Runyan decides to stick with this case, whatever it is.
He starts with the man whose x-ray plate was stolen - Roy Clark (Rock Hudson). The assistant talks about how when he first showed up he was poorly dressed, didn't even have enough money to make a complete payment on his dental work. When he reappeared at his follow-up dental appointment, he was dressed to the nines and gave the dentist a generous tip for doing the original work on credit. He drove off in a nice car as opposed to being on foot before.
And from that sketchy information, the Fat Man solves the mystery. This is far from a top drawer noir, and in fact it has a 50s TV show feel about it. The Fat Man was a popular radio show, and maybe this feature film was a way to transfer it from radio to television, but it never really took off.
J. Scott Smart is good and convincing in his role as "The Fat Man", and he should be since he played that part on radio. He even shows himself light on his feet on the dance floor! Rock Hudson, even in this early and rather small role really stands out as far as screen presence.
The film does have a rather interesting and unexpected ending, and is worthwhile if you are interested in the noir cycle of American film in the 40s and 50s. With an original story penned by Dashiell Hammett and direction by that master of the macabre, William Castle. Also with Clinton Sundberg as Runyan's right hand man, mainly on the culinary front.
Things start with a bang as a man enters the hotel room of a dentist attending a convention, knocks him unconscious, throws his body out of his high rise room to make it look like an accident, and steals a dental plate the dentist was planning to show at the convention. So the dentist's assistant (Jayne Meadows) goes to Runyan and tells him she feels like she is being watched, plus the dentist had made an appointment with Runyan for reasons unknown. When someone tries to attack the assistant, Runyan decides to stick with this case, whatever it is.
He starts with the man whose x-ray plate was stolen - Roy Clark (Rock Hudson). The assistant talks about how when he first showed up he was poorly dressed, didn't even have enough money to make a complete payment on his dental work. When he reappeared at his follow-up dental appointment, he was dressed to the nines and gave the dentist a generous tip for doing the original work on credit. He drove off in a nice car as opposed to being on foot before.
And from that sketchy information, the Fat Man solves the mystery. This is far from a top drawer noir, and in fact it has a 50s TV show feel about it. The Fat Man was a popular radio show, and maybe this feature film was a way to transfer it from radio to television, but it never really took off.
J. Scott Smart is good and convincing in his role as "The Fat Man", and he should be since he played that part on radio. He even shows himself light on his feet on the dance floor! Rock Hudson, even in this early and rather small role really stands out as far as screen presence.
The film does have a rather interesting and unexpected ending, and is worthwhile if you are interested in the noir cycle of American film in the 40s and 50s. With an original story penned by Dashiell Hammett and direction by that master of the macabre, William Castle. Also with Clinton Sundberg as Runyan's right hand man, mainly on the culinary front.
Economy was obviously a concern for Universal and Mark Hellinger. The clip of the man falling to his death is taken right from 'The Spider Woman' (1944) one of Universal's classic Rathbone/Bruce Sherlock Holmes movies.
The second economy was the dress design for Julie London's character (starts at about 26:15). Film noir lovers will instantly recognize it as Kitty's famous evening gown (worn to perfection by Ava Gardner) in Universal's 1947 classic 'The Killers'.
Economies notwithstanding, the solid story and reliable performances (Jerome Cowan (long time Warner Bros. Contract player), Jayne Meadows, and a young Rock Hudson) make this oldie a goodie.
The second economy was the dress design for Julie London's character (starts at about 26:15). Film noir lovers will instantly recognize it as Kitty's famous evening gown (worn to perfection by Ava Gardner) in Universal's 1947 classic 'The Killers'.
Economies notwithstanding, the solid story and reliable performances (Jerome Cowan (long time Warner Bros. Contract player), Jayne Meadows, and a young Rock Hudson) make this oldie a goodie.
- alicegriffin-02737
- Sep 4, 2023
- Permalink
Very gripping opening sequence, for sure, but nothing in the rest of the movie to match it. It plays mostly just as a regular sub-"The Big Sleep" noir, notable only for early pre-stardom supporting roles for Rock Hudson and a husky-voiced Julie London. ** out of 4.
- gridoon2024
- Jan 6, 2022
- Permalink
Curiosity picture mainly because it is one of Rock Hudson's earlier films. I won't bother going over the film's many faults except to note the awkward humor. For example, after the nurse was killed, I couldn't believe the joking around. Also, why was she killed in the first place? It was never explained. This bummed me out because she was very attractive even if she couldn't act. It was obvious that this supposed to the first of a series of "Fat Man" detective movies, ala the "Thin Man" movies, but fortunately we are still waiting for the second one.
This Movie, Fashioned from a Long-Running (341 Episodes) Radio-Mystery.
The Show Featured the Detective of the Title and J. Scott Smart Transformed the Role to this Film.
Fans could Now put a Face to the Suave, Cultured, Rotund Crime-Solver.
This Dashiell Hammett's Character can Claim to be the Opposite of His "Mega-Star, the "The Thin Man".
But Didn't Click On-Screen and the Film Failed to Become a Series.
No-Doubt Television Took On the Source of Many B-Movies.
Detective-Series Radio Now Detective-Series TV.
This Movie had the Foundations of a Very Smart and Fun Film-Series.
William Castle Directed with His Seasoned B-Movie Credentials.
J. Scott Smart Successfully Cultivated the Character on Radio and seems Natural On-Screen.
Bringing a Sense of Humor, Type, and a Certain Confidence Despite His Over-Size.
However, one of the Film's Shortcomings is the Over-Reliance on Comedy Relief.
Rock Hudson in His First Real Performance is Fine as an Actor, and as was Said at the Time...
"The Camera Loves Him"
Also of Note, the Cast Includes...
Jayne Meadows (the Honeymooners Wife of Ralph Kramden, Alice.
Julie London, Exotic, Sultry Recording Star.
John Russell went on to have a Successful Career as an Adventurer on TV and Movies.
Last but Not Least, Emmett Kelly.
Famous Hobo Circus Clown, and in this Movie...He Speaks.
With All these Things Surrounding this Good Effort, it is Certainly...
Worth a Watch.
The Show Featured the Detective of the Title and J. Scott Smart Transformed the Role to this Film.
Fans could Now put a Face to the Suave, Cultured, Rotund Crime-Solver.
This Dashiell Hammett's Character can Claim to be the Opposite of His "Mega-Star, the "The Thin Man".
But Didn't Click On-Screen and the Film Failed to Become a Series.
No-Doubt Television Took On the Source of Many B-Movies.
Detective-Series Radio Now Detective-Series TV.
This Movie had the Foundations of a Very Smart and Fun Film-Series.
William Castle Directed with His Seasoned B-Movie Credentials.
J. Scott Smart Successfully Cultivated the Character on Radio and seems Natural On-Screen.
Bringing a Sense of Humor, Type, and a Certain Confidence Despite His Over-Size.
However, one of the Film's Shortcomings is the Over-Reliance on Comedy Relief.
Rock Hudson in His First Real Performance is Fine as an Actor, and as was Said at the Time...
"The Camera Loves Him"
Also of Note, the Cast Includes...
Jayne Meadows (the Honeymooners Wife of Ralph Kramden, Alice.
Julie London, Exotic, Sultry Recording Star.
John Russell went on to have a Successful Career as an Adventurer on TV and Movies.
Last but Not Least, Emmett Kelly.
Famous Hobo Circus Clown, and in this Movie...He Speaks.
With All these Things Surrounding this Good Effort, it is Certainly...
Worth a Watch.
- LeonLouisRicci
- Aug 11, 2021
- Permalink
"The Fat Man" was a radio program that was eventually brought to the big screen. However, only two movies were made--this first one starring J. Scott Smart and another made at the end of the decade by another actor. Apparently, the radio success couldn't be translated to the silver screen.
When the show begins, Jane Adams (Jayne Meadows) approached Brad Runyan ('the Fat Man') and begged him to look into the death of her boss, a dentist. The death was ruled an accident or a suicide but she knows it was murder. The trail then leads to a guy named Roy (Rock Hudson) as well as a clown and along the way, other folks meet the same fate as the dentist.
The biggest reason to see the film is to see a couple actors before they were stars--Rock Hudson and Jayne Meadows. Julie London, Emmett Kelly (not surprisingly, as a clown) and John Russell also appear in the film--giving it a few more quality actors than you'd expect in such a movie. Aside from that, it was a decent enough mystery but also one that had some stupid clichés. The worst was when Jane called Runyan and said "I need to see you right away...I know who killed Dr. Bromley"....and you KNOW what's going to happen to her very, very soon!! Why didn't she just tell Runyon OVER THE PHONE who the killer was?!?! Duh!! It also was rather low energy and not exactly exciting compared to other films in the genre. Worth seeing if you love these detective films, otherwise very skippable.
By the way, the film like MANY Bs was directed by William Castle-- before he became inextricably associated with horror films.
When the show begins, Jane Adams (Jayne Meadows) approached Brad Runyan ('the Fat Man') and begged him to look into the death of her boss, a dentist. The death was ruled an accident or a suicide but she knows it was murder. The trail then leads to a guy named Roy (Rock Hudson) as well as a clown and along the way, other folks meet the same fate as the dentist.
The biggest reason to see the film is to see a couple actors before they were stars--Rock Hudson and Jayne Meadows. Julie London, Emmett Kelly (not surprisingly, as a clown) and John Russell also appear in the film--giving it a few more quality actors than you'd expect in such a movie. Aside from that, it was a decent enough mystery but also one that had some stupid clichés. The worst was when Jane called Runyan and said "I need to see you right away...I know who killed Dr. Bromley"....and you KNOW what's going to happen to her very, very soon!! Why didn't she just tell Runyon OVER THE PHONE who the killer was?!?! Duh!! It also was rather low energy and not exactly exciting compared to other films in the genre. Worth seeing if you love these detective films, otherwise very skippable.
By the way, the film like MANY Bs was directed by William Castle-- before he became inextricably associated with horror films.
- planktonrules
- Sep 27, 2015
- Permalink
I recently caught this film, and inspire of its ...slightly above middle-range rating, I decided to watch it.
After all, it's an early Rock Hudson film,but, for me, the real clincher was it had a rare film appearance by the incomparable Ms Julie London.
I'm too young to have experienced the age of radio (but, I did grow up listening, nightly, to CBS Radio Myster Theater to understand just how great it could be), and an eclectic group of actors, as well as directed by Mr William Castle made this too intriguing to not give a chance.
I'm very happy I did.
The story's a classic, 'whodunnit', and it's got all the 'bells and whistles' of a really good noir film (aside from inky-black scenes shot in various locations), including a couple of character actors who should be familiar to most - if not by name, nor appearances, but, by their singular voices, and mannerisms (Messers William Castle,and Marvin Kaplan, as the 'fat man's' assistant, bill, and as 'pinkie', an uncredited role as a delivery truck assistant/brother-in-law).
I never knew Mr Castle had made any noir films, a d after enjoying this one, I really wish he had, because, he knows how to use his abilities in this genre, and have them work to their fullest.
This is a real hidden gem!
After all, it's an early Rock Hudson film,but, for me, the real clincher was it had a rare film appearance by the incomparable Ms Julie London.
I'm too young to have experienced the age of radio (but, I did grow up listening, nightly, to CBS Radio Myster Theater to understand just how great it could be), and an eclectic group of actors, as well as directed by Mr William Castle made this too intriguing to not give a chance.
I'm very happy I did.
The story's a classic, 'whodunnit', and it's got all the 'bells and whistles' of a really good noir film (aside from inky-black scenes shot in various locations), including a couple of character actors who should be familiar to most - if not by name, nor appearances, but, by their singular voices, and mannerisms (Messers William Castle,and Marvin Kaplan, as the 'fat man's' assistant, bill, and as 'pinkie', an uncredited role as a delivery truck assistant/brother-in-law).
I never knew Mr Castle had made any noir films, a d after enjoying this one, I really wish he had, because, he knows how to use his abilities in this genre, and have them work to their fullest.
This is a real hidden gem!
So this is the film version of the radio series by Dashiell Hammett called The Fat Man - obviously a whimsical referencing of his more famous novel, film and TV series The Thin Man. But this is more than just a gimmick. The corpulent gentleman in question is the masterly J. Scott Smart, whose excess poundage adds much to his screen presence as an unusually charismatic private investigator (with gourmet tastes and a mighty appetite), to whom the rest of the cast really don't measure up. Except for the quite unknown Rock Hudson, in his first major role as Roy, an ex-convict whose teeth play a significant part in the story (and not just because of his famous sunny smile). He speaks his lines convincingly, and we can already see what the production teams meant when they said "the camera loved him". Photogenic wasn't the word.
Otherwise the film is showing both its age and its B-film budget. The dialogue is generally weak, and the continuity not too sharp. We can't always keep up with who's who in the zoo. The dental assistant gives her scream of alarm long before she could possibly have worked out that her boss has been defenestrated. And the over-long sequence of the payroll robbery leaves us unsure whether this was before or after Roy's jail sentence. (You can overdo flashbacks). Also the puritan lobby will wince at Smart's habit of calling every woman 'sweetheart', as well as one brief glimpse of blackface theatre-comedy. Still the ending, which we can't reveal, reminds us of the myriad sub-plots that can emerge when a circus comes to town.
Otherwise the film is showing both its age and its B-film budget. The dialogue is generally weak, and the continuity not too sharp. We can't always keep up with who's who in the zoo. The dental assistant gives her scream of alarm long before she could possibly have worked out that her boss has been defenestrated. And the over-long sequence of the payroll robbery leaves us unsure whether this was before or after Roy's jail sentence. (You can overdo flashbacks). Also the puritan lobby will wince at Smart's habit of calling every woman 'sweetheart', as well as one brief glimpse of blackface theatre-comedy. Still the ending, which we can't reveal, reminds us of the myriad sub-plots that can emerge when a circus comes to town.
- Goingbegging
- Dec 18, 2020
- Permalink
I might get into some hot water here because the value of film adaptations from popular radio serials are held high for many. I am admittedly not familiar with the radio show to which this Castle film was based. In all honesty, I am quite convinced that it played better without the visual component. There are too many flashbacks that slog and mire the plot progression. The effect is an instability of mood throughout the film. Castle's direction is plodding and does little to compensate. There are some good moments of mobile framing and blocking/staging, however, most often Castle relies on simple short pan reframes and frontality in his staging. Not only does this strategy limit auteurship but also prevents provocative psychological portrayals of the characters. This film is carried literally and figuratively on the weight of the reputation of the titular character. The fat man has his moments - corny, quaint and digressive. That being said, his dancing number should become a contemporary viral meme - hashmark Twinkle Toes. Clown of renown, Emmett Kelly makes an appearance and the climax of the film is set around the circus grounds. You might think fun times but don't forget that impressionable Kelly hobo long face.
- LobotomousMonk
- Feb 23, 2013
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- myriamlenys
- May 20, 2023
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A dentist preparing to give a big speech at a conference makes the mistake of opening his door late one evening. Next thing he has been coshed and papped out of a fifteenth story window. Why? Well the rather easily pleased police conclude he succumbed to a fit of nerves, took some calming pills and... His long-term nursing assistant "Pat" (Julie London) doesn't buy that, though. She smells a rat and seeks out the help of the eponymous, renowned, investigator (J. Scott Smart). Can he put down his cutlery long enough to help her find out why she is being followed, what has happened both to her missing ex-con boyfriend "Roy" (Rock Hudson) and to $500,000 in stolen loot? In many ways this reminded me of a "Charlie Chan" mystery only here it's "Bill" (Clinton Sundberg) who takes the place of "No. 2 son" as the useful factotum who helps his boss to a conclusion in a circus. It takes just a bit too long to get going - a snappy start rather settles down a bit too much, but Smart does enough to keep the mystery rolling along with language that we'd never be allowed to use in a film nowadays. Sometimes I wonder how Rock Hudson ever achieved stardom. He was easy enough on the eye, but versatile he certainly wasn't! Watchable but you won't remember it.
- CinemaSerf
- Nov 26, 2023
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- tuxedobooks
- Jun 17, 2020
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While watching this there was something very familiar. The actor reminds me of William Conrad, who protrayed Matt Dillion in the radio version of Gunsmoke. He also starred in TV Jake and the Fatman and Cannon, another TV detective show. In the movie, the character using his large girth to his advantage, especially in the dance scene with Julie London. Oh, I almost forgot Roy is played by Rock Hudson. You can see what made him a super star later on. By the way Rock real name was Roy. The movie uses flashbacks focusing on Rock. I think the creators knew they had a future star. The show is a ok watch if you don't have anything better to do.
- rmax304823
- Aug 31, 2016
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