Suspense

1946's "Suspense" was another step toward respectability for Poverty Row's Monogram Pictures, soon upgrading its higher budgeted films with the new Allied Artists emblem. Moving up the Hollywood ladder (his eighth feature), Barry Sullivan is well suited for the part of sleazeball Joe Morgan, who lucks into a managerial position for an ice show run by Frank Leonard (Albert Dekker), starring Leonard's beautiful wife Roberta (top billed Belita). Morgan immediately takes an interest in Mrs. Leonard, and when her husband finds out, tries to shoot his rival in the snow covered mountains of the High Sierras, resulting in an avalanche that seemingly buries Mr. Leonard. Although seemingly widowed, Roberta is reluctant to continue the ice show, convinced that Frank may not have died after all (only his cap and gun were found in the snow). Belita, whose career was unfortunately brief, proves herself a capable actress, and would again co-star opposite Barry Sullivan in a similar title, "The Gangster." Eugene Palette completed a Western for Republic ("In Old Sacramento") before retiring from Hollywood, while former Nancy Drew Bonita Granville threw in the towel after six more films, confining herself to television thereafter, going on to produce the popular LASSIE series ('Bonita' is Spanish for 'beautiful'). Other familiar faces abound- George E. Stone, Leon Belasco, Nestor Paiva, George Chandler, Byron Foulger, and 7 year old Billy Gray ("The Day the Earth Stood Still," FATHER KNOWS BEST), in one of his earliest roles. Definitely a noir, occasionally slowed by its numerous (if well done) skating scenes and romantic entanglements, a curious non horror title to appear four times on Pittsburgh's Chiller Theater: Mar 14 1970 (followed by 1969's "It's Alive!"), May 8 1971 (followed by 1967's "Those Fantastic Flying Fools"), Apr 22 1972 (preceded by 1965's "The Eye Creatures"), and May 18 1974 (followed by 1965's "Night Caller from Outer Space").

It's hard living up to such a broad yet existential title as SUSPENSE; but the very beginning does it perfectly... albeit lasting only several seconds as an armed woman, flanked by two goons, aims her pistol at a ratty-looking fella, and then fires... hitting a target and winning the teddy bear prize, handed over by her "victim" working the stand...

Who then gives homeless-looking loser Barry Sullivan's Joe Morgan directions to an ice skating rink/auditorium... and what follows are the best sequences as Sullivan talks his way from being a popcorn vendor to security guard to practically running the show by making it more dangerous and thus... suspenseful...

Of course being a Noir he soon falls head-over-heels for a taken woman, and that's where real life ice skating champ Belita, married to the always-menacing Albert Dekker, comes in... she's the showcase star and he's the wealthy, enigmatic owner... and we eventually learn that Sullivan's quick climb was for reasons other than his fast-talking charm...

A shame since his character needed more spontaneous con artistry since, once he and Belita realize they're both equally smitten with each other... despite her husband's deadly intentions and a shady dame from the past (Bonita Gransville)... SUSPENSE, directed by THIS GUN FOR HIRE Frank Tuttle, in becoming a full-blown sport-propaganda/romantic melodrama, leaves those initial crime-genre origins on ice.

Just the title alone should tell you that you won't see anything like a Sonja Henie movie. Great Britain's answer to Henie, Belita stars in this noir thriller about the star skater caught between two men.

Peanut vendor Barry Sullivan has some ideas that catch the attention of ice show owner Albert Dekker and he promotes him to the show management. Sullivan also gets ideas about Belita as he rises the ladder of success.

For a Monogram Picture this one looks like a few bucks were spent on it. The ice sequences match anything in a Sonja Henie movie.

Bonita Granville has a real adult role and acts real adult. The juvenile tattletale in These Three and the screen's Nancy Drew, Granville plays the scorned other woman in Sullivan's life and does well.

Suspense was Eugene Pallette's farewell performance. Mr. Pallette retired after this film and went to live in the wild country in Oregon's more rural area. He was a man of strong rightwing convictions and was sure that we could expect atomic war from the Russians. I wonder if when he died in 1954 he was disappointed.

For a Monogram film this noir is not a bad one with an unusual setting.

A very trippy film noir.

Noiristas, make this a must because it has an inventive approach to it's noir story. Plenty of ice skating, rumba music and lions. The leading lady, Belita, is a treat. Barry Sullivan is superb. My favorite Sullivan performance.

Director Frank Tuttle and his cinematographer Karl Struss provide plenty of visual panache to make up for writer Philip Yordan's so-so script.

Yordan does deliver plenty of great noir lines for the actors to chew on.

I've seen Suspense three times now and appreciate it a little more each time. It's weird. I'm recommending a freaking ice skating noir.

Suspense doesn't promise to live up to its generic title until its last half-hour, when director Frank Tuttle (This Gun for Hire his only other noir) turns up the voltage and generates some, yes, real suspense. A Monogram release with a big budget (for Monogram), the movie casts the unlikely Belita – an ice-skating 'novelty' star like Sonja Henie – against Barry Sullivan; they would reunite the next year in The Gangster. Albert Dekker and Bonita Granville fill out the other principal roles.

Dekker's the impresario of The Ice Parade, a revue in which his wife Belita stars. A peanut vendor (Sullivan) offers a suggestion for sprucing up the act (a ring of swords through which Belita will jump) and gets offered in turn a management job. Dekker can't help but notice the sparks between his wife and his new hire, especially when Sullivan turns up uninvited at their mountain lodge. When they're off frolicking in the winterscape, he takes at shot a Sullivan but triggers an avalanche, which buries him.

Or does it? Back in her Los Angeles penthouse, Belita senses his presence. Sullivan, meanwhile, copes with another specter from his past – Bonita Granville, whom he ditched in Chicago (he has an unsavory background which she threatens to divulge – though never to us).

What with all this baggage, the romance sours, and Belita begins to suspect Sullivan of having killed Dekker, if in fact he's still among the living....

With Suspense, you have to take the bad with the good. The skating numbers, while eye-popping (a left-handed compliment), bring the action to a halt every quarter-hour or so. On the other hand, Tuttle anticipates by a year Anthony Mann's basement light in Desperate, swinging like a pendulum from glare to shadow. Still, he plays fast and loose with a key plot point – Dekker's reemergence. The dance of the seven veils he performs adds a supernatural touch to the spooky atmosphere, but it falls short of success: there's information missing that by every right ought to be included.

One last note: Suspense marks the last movie, out of well over two hundred, for portly, bassoon-voiced Eugene Palette, a welcome – and all but unavoidable – presence through the 1930s and early 1940s. In this, his swan song, he shows himself once more to be every pound the pro.