The Last Crooked Mile

A gang steals $300,000 from a bank, but all die in the robbery and pursuit. The money has disappeared. The insurance company offers a 10% reward for the total, and in waltzes cocky PI Don Barry in a grey outfit and hand-painted tie, leaving girl friend Adele Mara dancing by herself while he pursues night club singer Ann Savage and the money.

Republic was interested in expanding Barry beyond his fans from the Red Ryder movies, and he slips easily into this movie, which has some nice film noir touches -- notice the shadows thrown off by a set of Venetian blinds early on. Despite these visuals, and a sequence set in a fun fair at night, it's not in the least noirish. Barry is too cavalier, and there's a hint of 1930s screwball in Miss Mara's role. All in all, an entertaining little film, with a couple of nice twists, and Sheldon Leonard as a hood called 'Wires' McGuire.

During a police chase, three bank robbers perish when their getaway car plunges over a cliff. The 300-large they grabbed, however, can't be found. The bank's underwriters hire cocky private eye Donald Barry to find it, promising a 10-percent reward if he's successful. The trail leads him to an oceanside amusement park, where the `death car' has been purchased as an exhibit in the side show; a couple of thugs show interest in it, too, as well they might, since the missing cash has been soldered into the running board.

His quest also leads Barry to a nearby nightclub where shantoozie Ann Savage warbles in sequins. (It's a good career choice for Savage, whose bold features suggest two other famed singers of the time: LaVerne Andrews, of the sister act, and Astrid Varnay, the Wagnerian soprano). He enlists her help, despite the fact that corpses drop into seats on the roller-coaster (which, oddly, turns into a tunnel of love) and big black sedans keep trying to run them down. The body count continues to rise....

The movie comes from the El Cheapo unit at Republic Pictures, and was directed by Philip Ford. Like Ford's The Mysterious Mr. Valentine (and most other crime programmers of the 1940s), it tries to cram an overcomplicated plot into not much more than an hour, patching up the holes with explanatory dialogue whizzing by. But, also like Mr. Valentine, it has an evocative look – especially of the amusement park at night – and it has Ann Savage. All in all, that's not a bad deal.

This Bit of Fluff from "Republic Studios" has a Sharp Noirish Appeal at Times but the Darkness is Overshadowed by a Lighter-Than-Air Tone.

Peppered with Comedy-Relief in the Form of a Running-Joke the Annoying Don Barry "Standing-Up: the Pretty Adele Mara.

The Grim and Scary Ann Savage who Left an Indelible Mark on Film-Noir in "Detour" (1945), Plays a "Songbird" and Another Love Interest for the Cocky, Belligerent Barry.

Although She Doesn't Quite Pull it Off as a Nightclub Singer because of Her Hard Look and Demeanor, Savage Does Make an Impression.

The Overall Tone is too Wishy-Washy for a True Noir.

But its a Good Time-Passer and Republic Studios was Humming Along as One of the Best "B-Studios" in Hollywood.

Those Looking for Film-Noir Need Go Elsewhere, but Still it's...

Worth a Watch.

After a bank robbery, $300k goes missing when the robbers are caught. A wise cracking PI inserts himself in the hunt for the money and, along the way, he finds dames, carnies, and conspiracies.

This was oddly a more light hearted noir since the PI and all other men in this movie are constantly spitting flirty one liners at every woman within reach. It hit all the tropes, but wasn't much more than a light entertainment of a B noir. My favorite scene was the projection screen roller coaster that looked pretty good for a very low budget special effect 🎢.

Watched on YouTube.

This nifty, fast-paced B mystery, based on a radio play (as were many superior second features of the time) is a nice surprise from Republic Studios. It features original situations and plenty of fancy patter, some of it slightly risqué for the time (obviously, the production code mavens were more diligent in scrutinizing the A product than these minor programmers). Lightweight leading man Don "Red" Barry, with the wavy hair and tenor voice, gives as good as he takes (he also sports one of the most outrageous wide ties in memory), and B movie icon Ann Savage has a sizable role as a slinky cabaret singer who may know more than she lets on. Connoisseurs will appreciate the parade of offbeat character turns by vets like Irving Bacon, Sheldon Leonard, and especially Tom Dugan in a little deadpan bit as a sarcastic souvenir salesman. The photography is suitably shadowy, the carnival background sleazy, and there are some clever editing tricks. Obscure director Phil Ford, who was John Ford's nephew (and Francis Ford's son), certainly takes advantage of his studio's affinity for serials, emphasising reckless car chases and a wild ride aboard a roller-coaster. (By the way, reliable historian Tom Weaver claims that Phil was often more interesting than both John and Francis!) If you like this one, try the similar No Hands on the Clock from Paramount's splendid B-movie mill.