6 Hours to Live

Although the credits acknowledge an original story by Gordon Morris & Morton Barteau called 'Auf Wiedersehen', the footsteps in which this film seems most strongly to be following is David Belasco's hit Broadway fantasy of 1911, 'The Return of Peter Grimm' (filmed twice in the silent era and again in 1935 with Lionel Barrymore); especially as screenwriter Bradley Page had also scripted the 1926 version with Alec B. Francis directed by Victor Schertzinger.

Despite the hourglass & pendulum accompanying the opening titles, the talky plot belies the race against the clock suggested by the title, and a religious element increasingly intrudes as the film progresses. It is vaguely implied that Warner Baxter has now seen the afterlife, from which he has returned temporarily with clairvoyant powers (since he knows in advance why John Boles arrives late) and a new-found belief in God.

"6 Hours To Live" has a terrific, original premise which borrows elements from the previous year's "Frankenstein" but also predates "D. O. A" by almost 20 years (!): scientist brings murdered man back to life, but he is still doomed: he has only six hours to live, in which time he must find his own murderer. It's not as exciting as it might have been, but it does try to dabble in several different fields: political drama, romantic melodrama, sci-fi, murder mystery (the least satisfying part), existentialism, religious parable, etc. It's an ambitious B-movie. The final shot is great. **1/2 out of 4.

The possibility of life after death and the existence of God is a very ambitious topic. If we add the critique, albeit very superficial, of the global economic organization, in which rich and powerful countries have influence over small and poor countries, often resorting to corruption or intimidation by force, the goal is harder.

The analysis of these complex issues within the context of a science fiction film, with a mad scientist who invented a machine capable of restoring life for six hours, just once, to any undamaged corpse, and in which the question of the ethical and moral limits of scientific research is also raised, is even more difficult.

If we add to all this a plot with a love triangle and the analysis of the importance of love, altruism, and respect for others in our lives, the bar is raised to stratospheric heights.

Indeed, the feeling we were left with after watching the film is that a much longer film, or even a series, would be needed to address all these issues with reasonable consistency. Indeed, the film promises a lot but falls short.

Despite the strong performances, the characters aren't fleshed out enough to gain the depth necessary to create empathy and for the dramatic process to be intense.

The only redeeming features are the boldness, the well-crafted special effects, the set design, the soundtrack, the costumes, and the bittersweet ending.

Still, despite falling short of initial expectations, and unsuccessfully mixing several genres, it is a film that deserves to be seen.

With a global treaty thwarted by the stubborn refusal of "Capt. Onslow" (Warner Baxter) his life is soon in peril - and not just his, but his affianced baroness "Valerie" (Miriam Jordan) ought to get a bulletproof vest too! Tragically, for him, the perpetrators do manage to do away with him but wait - there are some scientists who have been working on an experimental resuscitation machine, and so "Prof. Bauer" (George F. Marion) suggests to the police that they "borrow" his still lukewarm corpse and put it in their machine. Remarkable success ensues, but only for six hours. Conscious and fully cognisant of what did and will happen, it falls to "Onslow" to ensure the treaty fails, track down his own murderer and do a bit of closing of his own before the grim reaper comes a-calling for a second time. As resurrection thrillers go, this is actually quite a sophisticated little number with no sign of Frankenstein's monster-syndrome, grunting, lurching or carrying off of wenches. This chap is every bit the same as he was when he was alive first time around, only just a lot more narked. It does take a while to get going, and the denouement is a bit undercooked, but Baxter always does debonair well and this feature also has Halliwell Hobbes in one of his few, non-butler, roles - he even gets to play a Baron! There's just an hint of science here, the romance is well under control and the seventy minutes flew by.

Fox Films and also William Dieterle films are so inconsistent that they can either be awesome or awful..... this falls into the awful category. Plot, script and acting all complete to be the film's worst aspect.

The winner is however the plot - it sounds intriguing but its execution is dismally disappointing. The premise of someone coming back to life to catch their killer could be - and subsequently has been, a really exciting plot device but not in here! I thought at first the reason this seemed so dreadful was because we've all seen it done better elsewhere but decided that's not why - it's dreadful just because it's dreadful.

The story begins with some grand international trade conference to combat the world depression which Warner Baxter wants to veto. We don't know why he's literally the only man in the world who wants to stop this, or why only he knows best. He's also involved in the dullest relationship with the dullest woman in the world which you couldn't care less about.

After he's assassinated and brought back to life the picture changes from dull to faux-religious (and also suddenly develops a score). As Mr Baxter benevolently walks through the town giving money to the poor and reforming prostitutes like Jesus in a tuxedo, the whole tone of the picture changes to a preachy 'God is good, science is bad' kind of thing. He's been to heaven so now walks in the path of light but it's all so vague, weak and wishy-washy that it just doesn't work. Considering how 'talky' this is, it says very little. It's got no real message like in FRANKENSTEIN or even the weird GABRIEL OVEF THE WHITEHOUSE from 1933 which successfully did put over a moralistic narrative.

Even when it should be at its most exciting Mr Dieterle creates no tension at all. He is usually excellent at bringing his characters to life but in this he seems barely able to get half of them to act like actual people. Only Warner Baxter seems real, the rest are lifeless and lack depth of personality. It does however look good and is well photographed and on that aspect alone, William Dieterle's artistry is still evident....but that's not enough.

This team of artists and professionals should have made this so much better but as it stands it's endurance rather than entertainment.