The Falcon in Hollywood

Back to the city and business as normal (?) for Tom Lawrence aka the Falcon in solving crimes the cops can't [#10/13]. "Hollywood" had a nice sunny feel to it, the War was a million miles away and people wanted to get even further away from it with an escapist movie industry to help.

The Falcon's busy losing at a racetrack but quickly gets mixed up with 2 beautiful women (Hale and Corday) and embroiled in tracking down an apparently stolen handbag. This leads to Sunset Pictures backlots where the body of a murdered man is discovered along with a gallery of suspects. The 2 best things here are the riveting but unfortunately intermittent tour of the RKO studios and props as the Falcon and his wisecracking female taxi driver played by Veda Ann Borg investigate, and the tight intelligent scripting. I wished there'd been much more behind the scenes for an even better picture of the studio. I kept expecting Borg to exclaim "Come up to my place!" – Conway wouldn't have been as backward as Sinatra! John Abbott as the Shakespeare-obsessed studio boss had many amusing scenes, and Emory Parnell effortlessly swapped from baddie in Mexico to goodie in Hollywood. And the story actually made solid sense this time without detracting from the entertainment, you can follow it from first to last, and even though the baddie's identity is pretty obvious from early on it was all logically explained. The searching of dead Ted's apartment has always stuck with me though for the bit where the Falcon and Borg are philosophising about how sad a dead man's room is and the poignant line about if he had been "worrying about tragic things like a broken shoelace" that morning.

Recommended to fans of the genre, not to others. One of my favourite Falcon's, one I've watched again and again and still hope to.

I was watching this movie on the hangar deck of the USS Yorktown in Ulithi lagoon in the Western Caroline islands in 1945. I remember a scene at a swimming pool. Then a Kamikaze struck the Randolf, an aircraft carrier anchored next to us. The movie was stopped and we went to battle stations. I have tried to locate a copy of this movie so that I could see the ending with no luck.

Falcon in Hollywood, The (1944)

*** (out of 4)

Entertaining entry in RKO's series has The Falcon (Tom Conway) on vacation in Hollywood when a famous actor is murdered. The finger points to various people in the production so The Falcon must sort it all out. This is perhaps the best that I've seen from the series due in large part to a very good supporting cast and a nice little mystery that remains interesting throughout the film. Most of the action takes place on the backlot of a studio so we get all sorts of nice scenes, which work themselves well into the mystery. A lot of Hollywood props are used as gags or evidence and this too adds to the fun. The characters working on the film within the film are all very entertaining. We get your typical crazy German director, the playboy, a jealous wannabe star and a producer who's always going around quoting Shakespeare. Conway is also very energetic here and delivers his best performance in the role since The Falcon's Brother.

While on vacation on the west coast, the Falcon finds himself approached by Peggy Callahan – the girlfriend of criminal Louie Buchanan. Peggy leaves her bag behind in place of Lawrence's companion's bag. He pursues her in a taxi driven by gobby taxi-come-stunt driver Billie Atkins and gets onto a the grounds of a Hollywood studio. While looking for Peggy the Falcon and Billie stumble onto the body of actor Ted Miles. The police are called and, even on holiday, Lawrence finds himself investigating yet another crime.

After not thinking much of the Falcon being Out West and In Mexico during his last two films, I feared that him being in Hollywood would be another location gimmick replacing any actual substance or entertainment value. It may be because the Hollywood setting just meant that the production stayed at home and saved money on a lot of set design but this film was actually pretty good and used Hollywood well but as a backdrop to a solid mystery. It does take some work to get it started but once Lawrence gets onto the lot it livens up and keeps that pace well for the rest of the film. Unlike the last two films the mystery is actually pretty good and develops to a satisfying solution. Douglas uses the locations well (RKO itself being the main one) and the film has a great "off-set" feel to it that you don't always get with b-movies – nice to see compared to the gimmicky feel to the West and Mexico and it bodes well for San Francisco (which I have not yet seen).

Conway seems a lot more relaxed and more like himself than when In Mexico. While in Mexico we had a Mexican "Goldie" character and here we have a female wise-@ss, in the shape of Borg; she is sassy and fu in a very clichéd and obvious manner but it works well. Parnell and Jenks are a poor man's Clark and Gargan but don't have that much to do. Perry Mason's Hale is good, as is Brooks. Shayne is a bit hammy but effective while series regular Rita Corday turns up yet again early on in the film.

Overall then an enjoyable entry in the series that fans will enjoy and may be slick and enjoyable enough to suit newcomers looking for an easy b-movie to watch. The location is not obtrusive and the material is good, giving the actors more to work with than in the last two films.

Fast paced mystery, surprisingly unpredictable. It's nice to see so many locations in Los Angeles of the mid 1940's. Much of the film gives you studio backlot scenes, and behind the camera context, within a Hollywood soundstage. Even so, the story draws you in, and the characters are believable. The film moves at a good pace, and keeps you guessing. Thoroughly enjoyable.