Friday, November 29, 2019
The Falcon in San Francisco (1945)
Tom Lawrence (AKA The Falcon) and his sidekick ‘Goldie’ Locke are heading for San Francisco for a well-earned vacation, but of course when detectives go on vacation you can be sure that murder will follow them. On the train they meet a cute little girl named Annie Marshall, along with her cute little dog named Diogenes. Annie solemnly informs them that he is being kept a prisoner in her own house. Of course it’s the sort of crazy thing that eight-year-olds do say so they don’t take much notice.
And then Annie’s nurse turns up dead. Tom Lawrence has a suspicion that it might be murder. So now he’s definitely interested.
He does have one promising clue to what is starting to look like an intriguing mystery. The nurse’s name was Carla Keyes and Tom finds a photo of an Abel Keyes, first mate on the S.S. Citadel, a ship with a colourful past. And there’s a connection between Annie Marshall’s sister Joan and a shipping line, Star Costal Lines, the one for which Abel Keyes works.
Surprisingly for a B-picture there’s some actual location shooting. Joseph H. Lewis, who went on to become a film noir legend as director of Gun Crazy and The Big Combo, was still learning the ropes at this stage but he’s already more than competent and there are a few typical Lewis touches.
Tom Conway breezes through his part with his usual easy-going charm. Edward Brophy as the likeable rough among Goldie provides low-key but non-irritating comic relief. Fay Helm is a serviceable femme fatale. Sharyn Moffett as Annie is cute without being annoying. Rita Corday is fine as Annie’s sister Joan. Carl Kent is excellent as the smooth but sinister gunman Rickey. Overall the acting is very solid indeed.
This is an above-average entry in the Falcon cycle (and all the Falcon films are at the very least reasonably entertaining) and it’s an above-average B-movie. It’s well-acted, well-plotted and well-made. The Falcon in San Francisco is highly recommended.