Cause for Alarm!

This film must be what passed for a 'chick flick' in the 1950's. It helps if you are a Loretta Young fan, and their are many of us. She is ably supported by Barry Sullivan and by the capable direction of Tay Garnett. Maybe 'tense drama' would be a better way to describe this picture as it barely falls under the heading of Film Noir - no violent confrontations, no dark, wet back alleys here, just sustained suspense, especially in the second half of the film. Miss Young is in almost every scene and the production seems almost stage-bound as it takes place mostly in the home of Young and Sullivan, with a few exterior shots thrown in.

Still, Miss Young gives a good performance and the movie holds the interest throughout, and is very worth watching.

CAUSE FOR ALARM boasts a fine leading lady in the talented Loretta Young who is believable in the everywoman role she plays here. Barry Sullivan as her sick and mentally unbalanced husband George Jones hits just the right note as well. While the film is somewhat dated in terms of the here and now, it has some very gripping and suspenseful moments especially involving the very real panic surrounding the letter George sent the district attorney due to his psychotic delusion that his wife and his doctor (her old friend) were plotting to kill him. In fact the ending here does cast a little doubt in the viewer's mind making this film even more intriguing. Any fan of suspense thrillers should enjoy this one.

Loretta Young was 38 when she made "Cause for Alarm" and the actress, who started in silent films, was a couple of years away from beginning her highly successful television series. Because Hollywood back in the golden era didn't have much use for actresses over 30, and no use for actresses over 35, Young, like many of her counterparts, had descended into B films by the time the '50s hit. This is one. Her costar is Barry Sullivan, who plays her bedridden husband. Ill with a heart condition, the troubled man has given into his paranoid instincts and become convinced that his best friend, a doctor, and Young, who was once his nurse, are trying to kill him. He writes a letter to the district attorney and gives it to his wife to mail. When he later tells her what's in the letter, she spends the rest of the film trying to get it back. Irving Bacon is quite funny and irritating as the talkative, whiny postman.

The beautiful Young is over her head in this drama - she's totally hysterical and the character as essayed by her can't keep control over her panic for two seconds. It's an annoying performance rather than being a sympathetic one. You just want her to calm down. Loretta Young's greatest asset during her career was her great beauty, fashion sense, and the gentle, lovely quality she brought to many roles, such as in "The Bishop's Wife." Playing a frantic, middle class housewife just wasn't her thing.

Sullivan's role is not well drawn; the story had more potential than was able to be explored even in the hands of a fine director like Tay Garnett. All in all, pretty routine.

In addition to a really good performance from Loretta Young as the increasingly desperate Ellen Jones, I give great credit to director Tay Garnett for the very effective build-up of suspense, which shifts gears partway through the movie but doesn't miss a beat in doing so. As Ellen, Young is playing a woman trying to nurse her gravely ill husband back to health. Unfortunately, George Jones' poor health has led him to become increasingly paranoid, and he's come to the conclusion that Ellen and his doctor are in love and trying to murder him. Ellen tries her best to "put on a happy face" as she deals with her increasingly difficult spouse, and then discovers that a letter she mailed for him was actually directed to the District Attorney, and accused her and the doctor of planning his murder. (As an added complication, George actually dies after the letter is sent.) The movie then shifts from George's paranoia to Ellen's desperation, as, after George dies, she frantically tries to get the letter back before it reaches the DA, but with every more desperate attempt to get the letter she seems to set herself up as more guilty. Where and how will this end?

It's a very well done movie, with a lot of little things that gave it a feel of authenticity: the nosy neighbours, and the neighbourhood kid who pretends to be Hopalong Cassidy showing up at Ellen's house looking for cookies. The opening scenes, explaining how George and Ellen met and their mutual relationship with Dr. Graham, went on perhaps a bit too long. Then, at the end, there is an expected twist (because you always expect a surprise twist in a movie like this) but the expected twist wasn't the twist I was expecting, and it provided a somewhat humorous (and perhaps, therefore, slightly out of place) ending to an overall very enjoyable film.

"Cause for Alarm" isn't a great film but it captures the noir cinematic scene of the postwar period fairly well. Loretta Young's frenetic pursuit through hot suburban California streets to retrieve a dangerous missive is well done. Is anyone really convincing in a story of a WWII pilot working in the insurance industry and detouring into paranoia while stricken with a cardiac condition? Nah, probably not. But the movie is a nice visit back to the fifties.

Early in the film Loretta Young walks out to her driveway and encounters - a celluloid ME. Attired in the exact same garb I wore in '51, a black cowboy outfit with two six(cap)-guns and riding a trusty trike, a not particularly adept child actor passes himself off as the one-and-only Hopalong Cassidy (as we grew older he became "Hopalong Catastrophe" but in the early fifties he was our unsullied hero). This kid even has the same toy I remember treasuring.

All that nostalgia aside, this short film is diverting albeit not the finest example of noir cinema. Loretta Young was as beautiful as she was talented. Barry Sullivan is appropriately nuts and most of the rest of the cast give dependable color to their roles.

This film definitely belongs in any noir retrospective.