MILLION DOLLAR WEEKEND (1948)

Masque Productions presented this seventy-two-minute romantic adventure with an honorable nod to film noir. Produced by Matty Kemp, it was distributed by the British film production company, Eagle-Lion Films, Inc., one of the most respected B-movie makers on Hollywood's "Poverty Row.” This film is one of their weaker efforts, not in the mold of, T-Men, Raw Deal or He Walked By Night. The director is the star of the film, Gene Raymond, based on his original story. I am happy to report on a commendable job with aircraft/airline continuity—matching in every scene. A couple of times he got clever with overlapping transition shots. One has the female lead's hand curled over, gripping the airline armrest’s end and the transitional footage shows the pilot's hand gripping all four prop controls. Later, the flame from Raymond's cigarette lighter transitions to the flame of her lighter. I suspect a lot of congratulatory back-slapping after viewing the rushes.

Action leading up to and during a flight to Hawaii is perhaps the most intriguing as the premise is revealed. We are introduced to the main cast: Raymond is a stockbroker with plans for an unlimited vacation thanks to his million-dollar theft from his employer. While waiting for an airline ticket, he flips a coin to determine whether he follows his plan. At the same time, Osa Massen—billed here as Stephanie Paull—flips a cardboard coaster on whether to board the [same] plane to Hawaii. She is a recent widow with a substantial death benefit. Francis Lederer, the handsome version of Peter Lorre, is well aware of her late husband's abuse. He attempts to blackmail her for half the benefits because it would be easy to convince the authorities she murdered him. He was there that evening. She and Lederer are sitting side by side. As the latter heads for the lavatory, she asks Raymond—seated directly across from her—to pretend they are old friends and take Lederer’s seat. Upon his return, Lederer smugly sees through their weak charade—duh! After these initial twenty minutes, the film's intrigue gets grounded on final approach.

While Raymond and Massen share a balmy evening, Lederer breaks into Raymond’s hotel room and takes his million-dollar briefcase. There is a car chase of sorts with the orchestra feverishly working hard to make it exciting. All three end up back on the same plane. After arriving in San Francisco, Lederer spreads a rumor with customs about Raymond, giving him space to escape. Once released, Raymond has a heart-to-heart talk with Massen about their past as the viewer dozes off. Raymond’s sheepish expressions indicate he is not cut out for a life of crime. Their honesty brings them closer together but alas, they must part. On Raymond’s suggestion, they optimistically agree to meet back in Hawaii at a designated spot in one month if their individual troubles are put behind them.

Now alone in the bar with a glass full of remorse, Raymond sees a young woman order a bottle of Napoleon brandy. Lederer's drink of choice. He follows her back to the hotel room and then barges in on the charming scoundrel. A bit of a fistfight breaks out with Raymond, the all-American stockbroker, the winner by a knockout. He retrieves his briefcase, returns to Los Angeles, and puts the money back in the company safe Monday morning. A month later Raymond awaits Massen's arrival and learns the value of patience. She is over thirty minutes late.

Notes: This was in an era when Hawaii and its music transported one seemingly to another planet. On hand to perform traditional Hawaiian music are “The Royal Hawaiian Serenaders.” Except for one singer in falsetto, the quartet is not far removed from the “Sons of The Pioneers.” Just balmier.

Finally, there is an amusing use of stock film suggesting Raymond has telephoto vision. He gazes admirably from his hotel room at surfers about a half-mile away but his view is close-up Hawaiian promotional footage from water level. The stock- broker's dreams are dashed knowing he cannot surf anyway.