UNDERTOW (1949)

Distributed by Universal Pictures, produced by Ralph Dietrich and directed by William Castle, this film is not ground-breaking nor clever but it does fly by thanks to a screenplay by Arthur T. Horman and Lee Loeb. Unfortunately, they also provide one assumed outcome in the first ten minutes of this seventy-one-minute film. How it plays out is not as obvious but suffice to say, there are few surprises. The filming in Chicago may bring back memories if you lived there during this era. It is yet another B-movie noir with little to fault or remember. Paul Sawtell took the reigns as the composer but none of the themes in this movie will be hummed after the ending.

Scott Brady, doing a fine job here as a handsome I-take-care-of-myself former Chicago mobster, ex-con, and war veteran, turning over a new leaf as manager of a lodge in Reno. Before leaving on a quick trip back home to Chicago and “mend a fence” or two, he spots his old friend and colleague from the Windy City, John Russell, a fellow casino owner. As both get up to speed on their seven-year separation, each is excited to share a glimpse of their engagement rings for their respective girl. Strolling through the casino, Brady accidentally bumps into vacationing Peggy Dow. Pardons are accepted but they stumble upon each other a second time, laughing at the coincidence. 

He and Dow are so comfortable together there is little surprise that they will have a future together within the hour. She is an unassuming elementary teacher from Chicago with zero gambling experience but has won twice with only two dice rolls. After seeing the handler change the dice after a nod from Russell, Brady makes an astute gambling decision on her behalf and she wins anyway. Russell is not that amused and feigns his disappointment that Brady has to leave so soon. This is that ten-minute point. Based on Russell’s early film roles with his angular face and “dangerous” arching eyebrows, there is no surprise, either, that he has ulterior motives. It will be no surprise, as well, that Dow and Brady are on the same plane back to Chicago. Good odds. She may not be any good at it but is willing to gamble on a relationship.

No sooner than hitting the pavement from the airliner steps, Brady is met by a childhood friend, now detective, Bruce Bennett, above with the nearly invisible Roc (Rock) Hudson in his fifty-second stint as a police detective. Bennett has orders to bring him in for questioning. The police captain is especially hard on Brady, accusing him of returning just to kill mob kingpin, Big Jim. The police tail him with little success. Brady reunites with his girl, Dorothy Hart, Big Jim’s niece, at Buckingham Fountain along Lake Shore Drive. Brady wants to make peace with him so they can get married. Later that night, Brady is attacked, shot, and placed in a car across the road from a diner---a revolver placed beside him. Gadzooks! Then, perhaps the only surprise in the film, Robert Easton shows up as a “valet” for the country diner. Cars are parked willy-nilly in the gravel lot and he offers to park Brady’s car. He has done a fine job so far. Again, no surprise who is on the screen with his struggling, over-the-top southern drawl trademark. I assume he did not offer to park the police vehicle that sat in front of the diner. Spotting that vehicle, Brady makes a quick exit and finds out Big Jim is suddenly not available for any future scenes and a clichéd frame is afoot. Dow goes the extra “magnificent mile” to protect Brady, while Bennett, unfairly suspended by the captain for supporting an innocent man, has evidence to help clear Brady.

Unsurprisingly, Russell shows up in Chicago with Hart in the mansion she inherited from “Big Dead Uncle Jim.” Brady expects help from both but she is pretty icy about it. He then notices the chunk of “ice” around her finger that Russell had shown him in Reno. Again, no surprise who orchestrated the murder and frame-up. A rapid happy ending evolves for Brady and Dow, at least.

NOTE: Some suggest Peggy Dow was bland in this outing. Perhaps hard to argue with, casting her did seem appropriate. She is sweet in this role. Yet probably best she ended her three-year career after marrying an oil baron. Otherwise, she might have been lost in guest-starring roles after her television transition. Dorothy Hart never set a film frame on fire, either, but she should have. She is pretty one-dimensional as a devious female with hardly more than a smirk or smile. Smoki Whitfield has three brief and effective scenes as Big Jim’'s long-time aide. Perhaps the most memorable takeaway from the movie outside Robert Easton's obligatory performance, of course.