Neale and Pedro fly cargo between Chungking and Calcutta. When their buddy Bill is murdered they investigate. Neale meets Bill's fiancée Virginia and becomes suspicious of a deeper plot while also falling for her charms.
After Police Captain Dan McLaren becomes police commissioner former detective Johnny Blake knocks him down convincing rackets boss Al Kruger that Blake is sincere in his effort to join the ... See full summary »
Edward G. Robinson,
A New York City detective, traveling by train between New York and Baltimore, tries to foil an on-board plot to assassinate President-elect Abraham Lincoln before he reaches Baltimore to give a major pre-Inauguration speech in 1861.
When heiress Jean Courtland attempts suicide, her fiancée Elliott Carson probes her relationship to John Triton. In flashback, we see how stage mentalist Triton starts having terrifying flashes of true precognition. His partner, Whitney Courtland, uses Triton's talent to make money; but Triton's inability to prevent what he foresees, causes him to break up the act and become a hermit. Years later, Triton has new visions and desperately tries to prevent tragedies in the Courtland family. Can his warnings succeed against suspicion, unbelief, and inexorable fate?Written by
Rod Crawford <firstname.lastname@example.org>
Adapted for radio in the 40s as an episode of "Screen Directors' Playhouse," an NBC radio show that featured condensed audio versions of contemporary films. 'Edward G. Robinson' and most of the original cast reprised their roles for radio. See more »
The movie's a riveting excursion into the occult. In fact, the production pulls off the difficult trick of making occult happenings seem almost plausible, something Hollywood rarely cares about doing. Robinson's turn is first-rate as a stage magician suddenly burdened with the power of pre-cognition. Watching Triton (Robinson) slowly succumb to the terrible reality of foreseeing the future amounts to a dramatic triumph. He has no control over these pre- visions and they're almost always of dark happenings, especially when involving the sweetly vulnerable Jean Courtland (Russell). The climax is a stunner as the clues to Jean's bleak future slowly come true, while there seems no alternative to fate having its evil way.
This is one of the darkest of noirs, both literally and figuratively. Generally, the lighting is too shadowy to catch the ethereal Russell's pale blue eyes, a feature that would have added to the overall mood. It's also nicely ironic that the real occult would step into the life of a magician who only pretends to conjure other dimensions for the delight of paying audiences. It's like a punishment for presuming to toy with the surreal. I also like the way others remain militantly skeptical since that would be a natural reaction.
In my book, the movie's clearly underrated by the professionals and I'm not sure why. If the production's got an overriding flaw, I can't find it, though I could have done with less of the theramin whose eerie sound is like gravy on soup. Nonetheless, for me, the overall result is one of the best to deal with a topic that's usually made hokey as heck by Hollywood, and that's besides having one of the most intriguing titles in movie annals.
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