At this point in Humphrey Bogart's career, he was now a well enough established actor to be given free rein of his choice of director while on loan to Columbia Studios. He came up with John Cromwell who had given him his first break in the play Swifty, back in the 1920s. Cromwell decided to work with him again, but there was a problem, they had no story. According to Cromwell; they finally got this one , a noxious sort of thing , but I felt perhaps we could make something of it.' The 'noxious sort of thing' in question was Dead Reckoning, which turned out- unintentionally, it seems- to be almost a parody of The Maltese Falcon. Just like Sam Spade, Rip Murdock ( Bogart ) is trying to avenge the death of his partner; in this instance they were formerly paratrooper pals. It also borrows shamelessly from the film Double Indemnity, the same idea of a narrative voice-over commentary by Bogart. Even to the point of Fred MacMurray's repeated references to the smell of honeysuckle, in Double Indemnity, while Bogart harps on the smell of jasmine in the hair of co-star Lizabeth Scott. Sadly there is not the same friction and chemistry between Bogart/Scott as with MacMurray/Stanwyck. Bogart in this movie does not really seem interested in his sexy leading lady Scott, and it shows on film. Sadly for Lizabeth Scott, as an actress she was not lucky enough to have been taken under the wing of a brilliant Svengali-like director, which had been the main factor in setting Lauren Bacall on the road to success. But I still found her performance is exceptional under the circumstances and more interesting than Bogart's. While not near one of his best films, it is still a curiosity to see for Bogart fans and Scott fans alike. Either you'll like it or you won't, I'll let the reader decide for themselves.
110 Reviews
Postwar Bogart in a Derivative Yet Gripping Film Noir
dtb13 August 2004
If Humphrey Bogart had ever decided to film one of Mickey Spillane's Mike Hammer thrillers, it would have turned out something like 1947's DEAD RECKONING. Although it's not actually based on a book, John Cromwell's tautly-directed film noir owes more than a little of its plotting and characterization to earlier classic crime novels-turned-classic Bogart movies. Indeed, when my husband Vin entered the room while the film was on, he began watching it with me and soon asked, "Is this THE BIG SLEEP, or THE MALTESE FALCON?" However, DEAD RECKONING is steeped in the kind of bitter post-war viciousness that distinguished Mickey Spillane's writing -- not that there's anything wrong with that! :-) Bogart commands the screen as Rip Murdock, a former Army paratrooper (lots of colorful references to parachutes and jumping here) and one of the most misogynistic good guys he ever played (not that you can blame Rip, after the wringer he's put through in this film). Captain Rip starts out trying to find out why his Sergeant and pal Johnny Drake (William Prince) has a Yale pin with the name "John Joseph Preston" on it, and more importantly, why Johnny bolts rather than accept the Congressional Medal of Honor for his wartime heroism. Rip's investigation leads him to Gulf City, Tropical Paradise of the South (don't take my word for it, check out the neon sign in the upper right-hand corner of the screen in the opening establishing shot :-), where he's quickly sucked into a whirlpool of secrets, double-crossing, murder, and such inventive mayhem as tossing napalm-powered Molotov cocktails at sinister smoothie Morris Carnovsky and his psycho henchman Marvin (THE MILLIONAIRE) Miller to make them talk. Standing in for quintessential Bogart leading lady Lauren Bacall (and original leading lady Rita Hayworth, who was hung up making THE LADY FROM SHANGHAI) is Lizabeth Scott as mysterious chanteuse Coral Chandler, the kind of dame guys go gaga for against their better judgment (she's got so many pet names from her various beaus that the first time I saw the film, I wasn't quite sure if her name was "Coral," "Dusty," or, of all things, "Mike"!). While Scott's no Bacall (don't get me wrong, Scott fans, I like her, but to my ears, her husky voice always sounds more phlegmy than sultry. Every time Scott speaks, I half-expect someone to offer her a cough drop!), she's certainly chock full of luminous blonde beauty, plus Scott has an air of wounded vulnerability that makes me empathize with her in spite of myself. Sometimes the film is gloriously, deliriously nutzoid. For instance, Bogart's speech to Scott early on about how men should be able to reduce women to pocket-size when necessary, and Scott's interpretation of this theory, must be heard to be believed. But when DEAD RECKONING works, it's dynamite (literally, when Bogart and Scott join forces with safecracker/explosives expert Wallace Ford)! Even when things get ugly, this movie is always gorgeous to look at, thanks to the stunning use of shadows and light in Leo Tover's black-and-white photography. If you love Bogart and you like your film noir grim yet glamorous and over-the-top at times, DEAD RECKONING is well worth a look.
Death Beckoning...
Xstal24 August 2023
A church provides a little safety, some sanctuary, a chance to take your time and hide out, while you flee, where a paratrooper padre, listens to the words that you say, recount the tale of what's happened, these past few days. It all began with celebration and your pal, but as the train approaches station it goes mal, when your friend just disappears, seems he had a past career, and is wanted for a crime that's capital. So we follow you around as you hunt down, spiralling around a story causing frown, until you find what we all knew, suspense has very little glue, then a parachuting lady in a gown.
Brutal Film Noir
wrbtu31 January 2004
One of Bogart's best, a brutal Film Noir with a surprising ending, & filled with sharp, witty dialog. Lizabeth has never looked more beautiful than here, & although her acting ability is overmatched by Bogart, she would improve in her later films & she's adequate in this role. There's glimpses of the basic "Maltese Falcon" plot here: Bogey searches out & seeks revenge for his partner, even some of the dialog is similar in that respect. If you like Bogart or if you like Film Noir, you can't go wrong with this one! And by the way, this is a REAL Film Noir, not in the newer use of this phrase (recently, people have been calling any B&W crime drama made in the 1940s a "Film Noir"). This film has all the classic Film Noir elements: lots of shadows & stark contrasts (in the beginning, Bogart speaks from shadows so dark that one can hardly see his face), a spoken narrative, a "hero" who works outside the law, a murder mystery, & a heroine who may not be a heroine.
No classic but very enjoyable nevertheless.
MOscarbradley28 August 2018
By the way he talks Humphrey Bogart thinks he's still Sam Spade and that Lizabeth Scott is Mary Astor but "Dead Reckoning" is no "Maltese Falcon". Nevertheless this convoluted film-noir is still extremely enjoyable if a little hard to follow. It was directed by John Cromwell in 1947 and while Mr Cromwell was no John Huston he was no slouch either so the film moves at a fairly professional clip and is never less than entertaining.
If there's a problem it probably lies in the over-egged script and the purple prose, courtesy of no less than five writers and that includes producer Sidney Biddell who came up with the original story. Bogart is excellent as always and there's nice work from Morris Carnovsky as a bad guy but Lizabeth Scott was certainly no Mary Astor and at times you wonder if her 'bad acting' is bad acting or just 'bad acting', if you get my drift. For some reason the film isn't much seen these days which is a pity because, while no classic, it really is a lot of fun.
If there's a problem it probably lies in the over-egged script and the purple prose, courtesy of no less than five writers and that includes producer Sidney Biddell who came up with the original story. Bogart is excellent as always and there's nice work from Morris Carnovsky as a bad guy but Lizabeth Scott was certainly no Mary Astor and at times you wonder if her 'bad acting' is bad acting or just 'bad acting', if you get my drift. For some reason the film isn't much seen these days which is a pity because, while no classic, it really is a lot of fun.
entertaining post-war noir
blanche-216 September 2005
"Dead Reckoning" is a good, if not very original, film noir starring Humphrey Bogart as a paratrooper investigating his buddy's death. William Prince, who later was a more visible actor as a white-haired older man, has a small role as the buddy, who runs away when he learns he's about to receive the Medal of Honor. Later, he's found dead in his home town.
There are the usual ethnic stereotypes - the de riguer black maid, the thug of Italian descent, and the torturing thug of German descent. The thug in this case is Marvin Miller, who later became the assistant of John Beresford Tipton on the TV show, "The Millionaire." He got to give people $1 million tax free. With prices today, they'd probably all laugh in his face.
Lizabeth Scott is the woman "Johnny" (Prince) was in love with. She's an actress I always found heavy on style and slight on substance. Beautiful, with a warm smile, and one of the best voices in films, she never exhibited the acting range of, say, Bacall, whom she seemed groomed to follow. In this role, she's not very believable, which is great for the noir films, in which she excelled. You really didn't know how involved she was or wasn't in the crime at hand.
All in all, a very entertaining film with a solid performance by Bogart. Regarding the film's reference to the "Geronimo" cry that paratroopers made as they jumped, I asked an actual war paratrooper about this, and he said, "We were usually so scared we couldn't make a sound."
There are the usual ethnic stereotypes - the de riguer black maid, the thug of Italian descent, and the torturing thug of German descent. The thug in this case is Marvin Miller, who later became the assistant of John Beresford Tipton on the TV show, "The Millionaire." He got to give people $1 million tax free. With prices today, they'd probably all laugh in his face.
Lizabeth Scott is the woman "Johnny" (Prince) was in love with. She's an actress I always found heavy on style and slight on substance. Beautiful, with a warm smile, and one of the best voices in films, she never exhibited the acting range of, say, Bacall, whom she seemed groomed to follow. In this role, she's not very believable, which is great for the noir films, in which she excelled. You really didn't know how involved she was or wasn't in the crime at hand.
All in all, a very entertaining film with a solid performance by Bogart. Regarding the film's reference to the "Geronimo" cry that paratroopers made as they jumped, I asked an actual war paratrooper about this, and he said, "We were usually so scared we couldn't make a sound."
Avenging A Pal
bkoganbing2 November 2006
Humphrey Bogart and William Prince should be psyching themselves up for the big moment of their lives in Dead Reckoning. Bogey's put Prince up for the Congressional Medal of Honor. But Prince doesn't react to that quite the way one would expect. He jumps the train in Philadelphia on the way to Washington, DC and disappears and Bogey starts his own hunt for him and an explanation.
The trail leads to Prince's hometown and Bogey learns that Prince was fleeing a murder rap when he joined the service. There's a girl involved to, Lizabeth Scott who Columbia was trying to build up into their version of Lauren Bacall. Of course the best way to do that was team her with Humphrey Bogart. Prince also winds up dead and Bogey's really on a mission now.
Dead Reckoning borrows very heavily from The Maltese Falcon in terms of Bogart's character motivation. He was avenging a partner, admittedly one he wasn't crazy about, in The Maltese Falcon. Here he's looking for answers and vengeance on whoever might have murdered his war time buddy. That was a common theme in a lot of post World War II films. The audience, heavily populated with veterans, could understand Bogart's motivation back then easily.
And because Humphrey Bogart is such a skilled player, today's audience can appreciate it. Dead Reckoning is not the best of Humphrey Bogart's films, but it's still entertaining.
By the way, the ending confrontation is also out of The Maltese Falcon, though a bit more violent.
The trail leads to Prince's hometown and Bogey learns that Prince was fleeing a murder rap when he joined the service. There's a girl involved to, Lizabeth Scott who Columbia was trying to build up into their version of Lauren Bacall. Of course the best way to do that was team her with Humphrey Bogart. Prince also winds up dead and Bogey's really on a mission now.
Dead Reckoning borrows very heavily from The Maltese Falcon in terms of Bogart's character motivation. He was avenging a partner, admittedly one he wasn't crazy about, in The Maltese Falcon. Here he's looking for answers and vengeance on whoever might have murdered his war time buddy. That was a common theme in a lot of post World War II films. The audience, heavily populated with veterans, could understand Bogart's motivation back then easily.
And because Humphrey Bogart is such a skilled player, today's audience can appreciate it. Dead Reckoning is not the best of Humphrey Bogart's films, but it's still entertaining.
By the way, the ending confrontation is also out of The Maltese Falcon, though a bit more violent.
Deja Vu All Over Again
telegonus5 September 2002
One can't help wondering, while watching this movie, whether one has seen it before. Not for the first time is Bogart out to avenge a friend's death. He's gone after polished, Continental Mr. Big types before, too; and Lizabeth Scott looks an awful lot like Lauren Bacall. Some of the dialogue seems to have been lifted in toto from earlier Bogart films. Yet for all this, Dead Reckoning is still entertaining. Its cliches are at least agreeably packaged, and the setting, the Gulf Coast South, is unusual. Bogart brings sublime integrity to his world-weary and life-battered persona, and however artificial and predictable the story might be, the star's authenticity is absolute. One believes what's going on because one believes Bogart.
This kind of thriller, which now falls under the general rubric of film noir, was losing a little steam by this time. For one thing, Morris Carnovksy's character of Martinelli had been done to death in the previous five years by everyone from Sydney Greenstreet to Otto Kruger. Marvin Miller's hulking, seemingly emotionally disturbed thug had become a commonplace fixture in such films; and while Miller is unique in his heavy-set, Orson Wellesian appearance, there's little that's new here, either. One can imagine script conferences of the day, with young screenwriters falling over one another trying to come up with a new psychological "complex" for the bad guy to be suffering from. Fortunately for the viewer, cliched though this movie is, it was made with extreme professionalism. Leo Tover's cinematography is understated, and nicely suggests the equatorial. John Cromwell was an old stage and movie pro by this time, though his usual magical touch with actors failed him with Miss Scott, he handles the tough guy stuff with suave authority.
This kind of thriller, which now falls under the general rubric of film noir, was losing a little steam by this time. For one thing, Morris Carnovksy's character of Martinelli had been done to death in the previous five years by everyone from Sydney Greenstreet to Otto Kruger. Marvin Miller's hulking, seemingly emotionally disturbed thug had become a commonplace fixture in such films; and while Miller is unique in his heavy-set, Orson Wellesian appearance, there's little that's new here, either. One can imagine script conferences of the day, with young screenwriters falling over one another trying to come up with a new psychological "complex" for the bad guy to be suffering from. Fortunately for the viewer, cliched though this movie is, it was made with extreme professionalism. Leo Tover's cinematography is understated, and nicely suggests the equatorial. John Cromwell was an old stage and movie pro by this time, though his usual magical touch with actors failed him with Miss Scott, he handles the tough guy stuff with suave authority.
Despite all the noir ingredients, something's missing
bmacv21 February 2002
Dead Reckoning appeared too early to have worn out and begun to recycle film noir's conceits and conventions, but already it has a tired, seen-it-all feel to it. Its director, the generally reliable John Cromwell (who three years later was to helm the great-grandmaw of women-behind-bars pix, Caged) works here with a by-the-numbers detachment that keeps the movie as limp and soggy as its "Gulf City" locale.
Returning vet Humphey Bogart, en route to Washington with a war buddy who's about to be awarded some Big Medal, is baffled when said buddy suddenly takes it on the lam. His investigation into what happened and why takes him to a seamy town on America's south coast where, in a morgue, he finds his friend's body, charred beyond recognition. He also meets up with Lizabeth Scott (as Coral Chandler, or "Dusty," or, even, "Mike"), a canary in a local nitery run by heavy Morris Carnovsky. It seems she and the late pal were something of an item, and she teams up with Bogart to get to the truth.
Or does she? The most problematic aspect of the film is that dealing with Scott -- game blonde or femme fatale? It's as if the scriptwriters or studio heads couldn't make up their mind about her, or as if alternative endings were contemplated, or even filmed. This doesn't help the viewer, whose empathy seems always to be out of kilter with what's happening in the plot. And this can't be written off as a teasing ambiguity -- it's a gross failure of filmmaking. So the sentimental, "redemptive" ending in the hospital ward, with high-flown talk of parachute jumps, tries to have it both ways. Well, it can't.
Returning vet Humphey Bogart, en route to Washington with a war buddy who's about to be awarded some Big Medal, is baffled when said buddy suddenly takes it on the lam. His investigation into what happened and why takes him to a seamy town on America's south coast where, in a morgue, he finds his friend's body, charred beyond recognition. He also meets up with Lizabeth Scott (as Coral Chandler, or "Dusty," or, even, "Mike"), a canary in a local nitery run by heavy Morris Carnovsky. It seems she and the late pal were something of an item, and she teams up with Bogart to get to the truth.
Or does she? The most problematic aspect of the film is that dealing with Scott -- game blonde or femme fatale? It's as if the scriptwriters or studio heads couldn't make up their mind about her, or as if alternative endings were contemplated, or even filmed. This doesn't help the viewer, whose empathy seems always to be out of kilter with what's happening in the plot. And this can't be written off as a teasing ambiguity -- it's a gross failure of filmmaking. So the sentimental, "redemptive" ending in the hospital ward, with high-flown talk of parachute jumps, tries to have it both ways. Well, it can't.
Mediocre noir, good Bogey
Joel I2 November 1999
This mediocre film noir, involving the usual tangle of murder and deceit, is notable mainly for Bogart's presence. He's an army captain who sets out to solve the mysterious circumstances surrounding the death of a buddy. There's the usual quotient of danger and deceit and, of course, a femme fatale, well played by Lizabeth Scott who seems to have been born for this kind of part. Many of the plot points are either hard to follow or hard to swallow, and it's all much too talky, but it does have a memorable closing line! Worth seeing for genre buffs.
Magnificent Film-Noir One of the Best I Have Ever Seen
claudio_carvalho15 January 2005
In one night after the Second World War, Capt. Warren 'Rip' Murdock (Humphrey Bogart) goes to a Catholic church and confess to a priest that he has been chased by the police and gangsters, and he would like to clean the name of his best friend, Sgt. Johnny Drake/John Joseph Preston (Wiliam Prince). He explained that Johnny was in love of a woman, Coral 'Dusty' Chandler (Lizabeth Scott). When they returned to USA, through the airport of La Guardia (N.Y.), they were confidentially sent by train to Washington. When they found that they would be decorated for their performances in the war, Johnny rushed to another train and vanished. Murdock decided to investigate the reason for such a behavior, and found in an old newspaper that Johnny was accused of murdering Coral's husband some years ago, and he had enlisted the Army with a false name, trying to escape from the crime. He moved to St. Louis, trying to meet Johnny, but instead he confronted a powerful mobster, Martinelli (Morris Carnovisky), had trouble with the local police and felt in love with Carol. "Dead Reckoning" is an authentic film-noir, with all the necessary "ingredients": the fatal woman, lots of money, sordid environment, crimes and dirty cops. However, the story of "Dead Reckoning" is magnificently developed in flashbacks and is very engaging, with many plot points, having a wonderful black and white photography, using perfectly the effects of the shadows, a very gorgeous actress Lizabeth Scott with a beautiful voice and Humphrey Bogart, my favorite actor ever. The dialogs are fantastic, having very sharp lines. I really liked this unknown film a lot, and I believe that fans of film-noir will certainly appreciate it. My vote is ten.
Title (Brazil): "Confissão" ("Confession")
Title (Brazil): "Confissão" ("Confession")
Unoriginal but enjoyable noir
amhnorris1 June 2003
This movie, while certainly not the best film noir, certainly would be an ideal introduction to the genre, in large part because of its blatant banality. It does not even attempt to elaborate or subvert any of the genre's themes, so in that sense is ideal for someone wanting to get a feel of a film noir. All of the noir ingredients are there: man returning from war, femme fatale, flashback narrative, gambling, seedy clubs, suspicion, paranoia, etc. I've never seen Lizabeth Scott in anything else so can't really comment on her, but my goodness she seems to be trying to do her best Lauren Bacall impression. Certainly she's no Bacall, Lake, Gardner or even Turner, but is passable in her performance as the femme fatale. The plot is more complicated than someone used to contemporary movies may expect, and one certainly needs to pay a lot of attention to it. That being said, it can work in the same way as 'The Big Sleep' (a much superior film) if one disregards the plot and just soaks in the atmosphere. The city at night shots at the movie's beginning are incredible, probably the photographic highlight of the entire movie. I've read criticism about the direction and lighting in the sense that it switches between light and dark. I think that it is supposed to work in the same way that a movie such as 'Mildred Pierce' works in the sense that the juxtaposition between light and dark represents the character's state of mind. So in a scene where Bogie is content with Scott, the colors are extremely light, representing his state of mind. More suspicious scenes are thereby darker. I don't know, just a theory, and even if this was the director's intention its debatable as to whether its effectively achieved.
All in all, an enjoyable noir, certainly recommended for fans of the genre, just don't expect any originality.
All in all, an enjoyable noir, certainly recommended for fans of the genre, just don't expect any originality.
Film Noir Facsimile
jimrym14 February 2014
Warning: Spoilers
As I read others more positive reviews, I ask, "Was I watching the same movie". This is rehashed Noir complete with stereotyped dialog, grainy stock and uplighting ad nauseam. Only its Bogey! Albeit at the midpoint of his career...so this could have been a much, much better film. However the acting is terribly wooden. Bogey looks tired and uninspired and there is very little chemistry between he and the "femme fatale" Lizbeth Scott, who was ostensibly cast as a Bacall look alike. (husky voice and all). The set was supposed to be tropical, but was shot in NYC. The green screen beach scenes looked fake. I could go on and on. One parting comment, though, regarding the incredibly sexist scene where "Rip" explains his philosophy on women to Coral..."Woman should be shrunk down and kept in a man's pocket...and taken out, blown up, and be there for him looking pretty." (not exact quote, by you get the picture) Gag me with a maggot. The ending was, perhaps, the worst death scene I have seen. After a horrendous car crash, (head on with a tree at 70mph)Rip has a broken arm and Coral (on her death bed), with a designer head wrap and no bruising, closes her lovely eyes and parachutes off to the great beyond. Pathetic. The movie works as a reference point for Bogey film buffs and little else. -Jim
Femme fatale
jotix10010 October 2004
John Cromwell was a director that aimed to please, as demonstrated by the films he left behind.
"Dead Reckoning" is a film that is satisfying while one is watching it, but later on, in retrospect, we question a lot of what we have seen as the plot doesn't make sense in many ways. All the elements of the Film Noir genre can be found in it. We have a war hero Rip, who is investigating the disappearance of his buddy, who he watches running away from a train in order not to testify with him in Washington. The action takes us to a Southern coastal town, where supposedly, the escapee has gone to. Little prepares Rip to find his friend burned to death in the morgue.
Thus begins a tale of deception that has lots of interesting twists. The film benefits from its two stars, who play a game that on the surface seems to be one thing, and with a surprising twist at the end, turns out to be something else.
Humphrey Bogart excelled in movies like this. He is tough, but he has time to have a great rapport with Dusty, the former singer at the local night club. Lisabeth Scott plays the siren with an air of mystery. It comes as a big surprise what happens at the end.
Morris Carnovsky, a great theater actor of the time, is Martinelli, the crooked owner of the night club. Also a young William Prince plays the man who ran away to find a tragic fate by doing so.
"Dead Reckoning" is a film that is satisfying while one is watching it, but later on, in retrospect, we question a lot of what we have seen as the plot doesn't make sense in many ways. All the elements of the Film Noir genre can be found in it. We have a war hero Rip, who is investigating the disappearance of his buddy, who he watches running away from a train in order not to testify with him in Washington. The action takes us to a Southern coastal town, where supposedly, the escapee has gone to. Little prepares Rip to find his friend burned to death in the morgue.
Thus begins a tale of deception that has lots of interesting twists. The film benefits from its two stars, who play a game that on the surface seems to be one thing, and with a surprising twist at the end, turns out to be something else.
Humphrey Bogart excelled in movies like this. He is tough, but he has time to have a great rapport with Dusty, the former singer at the local night club. Lisabeth Scott plays the siren with an air of mystery. It comes as a big surprise what happens at the end.
Morris Carnovsky, a great theater actor of the time, is Martinelli, the crooked owner of the night club. Also a young William Prince plays the man who ran away to find a tragic fate by doing so.
All the dialog sounds like Raymond Chandler clichés...
Doylenf29 September 2007
Every time HUMPHREY BOGART opens his mouth to say anything, it sounds like deja vu all over again. His role as a tough-talking ex-GI looking for his buddy's murderer and moving among a bunch of unsavory characters is the kind of material Raymond Chandler could have written with his eyes shut.
The stock heroine is played with sultry charm by LIZABETH SCOTT, who seems to be subbing for Lauren Bacall throughout the murky proceedings. She even sings a torchy night club number in the same style as Bacall, but is not quite as alluring--nor does her chemistry with Bogart seem as strong.
Bogart's string of one-liners make him sound like Philip Marlowe, detective, rather than a man on the hunt for a killer who gets drugged by the gambling joint owner and when he wakes up, discovers a corpse in his apartment. The corpse is a bartender who knew too much about the murder of Bogart's buddy.
It's a typical Bogart movie of the '40s, film noir material that's well handled by director John Cromwell. While it doesn't have the impact of the high quality noirs like THE MALTESE FALCON, it will keep you guessing until the smart finish.
Bogart gets all the nifty lines. "If you're looking for Easter bunnies, you're a day early." He delivers a solid performance that makes much use of voice-over narrative. Scott is okay, but she's had better roles in other films of the forties.
Worth watching, especially if you like faux Chandler-type material. There's an Astor/Bogart quality to the final confrontation between Bogart and Scott. He even has the line that sounds like it's lifted from THE MALTESE FALCON: "When a guy's buddy dies, a man's gotta do something about it."
The stock heroine is played with sultry charm by LIZABETH SCOTT, who seems to be subbing for Lauren Bacall throughout the murky proceedings. She even sings a torchy night club number in the same style as Bacall, but is not quite as alluring--nor does her chemistry with Bogart seem as strong.
Bogart's string of one-liners make him sound like Philip Marlowe, detective, rather than a man on the hunt for a killer who gets drugged by the gambling joint owner and when he wakes up, discovers a corpse in his apartment. The corpse is a bartender who knew too much about the murder of Bogart's buddy.
It's a typical Bogart movie of the '40s, film noir material that's well handled by director John Cromwell. While it doesn't have the impact of the high quality noirs like THE MALTESE FALCON, it will keep you guessing until the smart finish.
Bogart gets all the nifty lines. "If you're looking for Easter bunnies, you're a day early." He delivers a solid performance that makes much use of voice-over narrative. Scott is okay, but she's had better roles in other films of the forties.
Worth watching, especially if you like faux Chandler-type material. There's an Astor/Bogart quality to the final confrontation between Bogart and Scott. He even has the line that sounds like it's lifted from THE MALTESE FALCON: "When a guy's buddy dies, a man's gotta do something about it."
Not Front Rank Noir
dougdoepke10 November 2008
So, why does war hero Johnny Drake (William Prince) take a fast train away from the nation's highest military honor. It's an intriguing premise and the next 90 minutes tells us why. The movie's got noir icons like Bogart, Lizabeth Scott, and Morris Carnovski, plus a mysterious past, a smoky night club, and a barbecued corpse. In short, this ought to be classic noir, but in my little book it's not.
I've got two basic gripes. First, Scott may look the part, but she's no Jane Greer (Out of the Past. 1947). Above all, noir's spider women have to be good actresses so that we never know their true feelings. That trickiness means we can get suckered along with the hero. But it also means we get suckered against our better judgement because we and the hero suspect their sincerity all along. Scott's performance lacks that crucial element of trickiness-- hers is essentially a one note performance with no hint of a gap between how she feels and how she behaves. Thus, there's no real revelation at the end because she looks and acts the same as before. As a result, the betrayal is all in the script and crucially not where it belongs-- in the performance.
Speaking of the script-- the banter is too cute by-half. Practically every line out of Bogart's mouth shouts clever writer's device, whether it's baseball metaphors (strike one, strike two, etc), car metaphors, or the various other false rhetorical notes. For me, it gets tiresome, Bogart or no Bogart. Then too, Carnovski's queasy racketeer is made to enunciate his lines with perfectly parsed diction. Of course, that makes him a more interesting character and criminal mastermind. But, this again amounts to a device that calls attention to the words being said instead of to who is saying them or how the plot is helped along. It seems to me that a good script carries a story without competing with it.
These are my two main gripes. There are other reasons I think the movie doesn't get beyond second-rate noir, such as uninspired direction (whether Cromwell's name is elevated above the title or not), overly long love scenes (after the point has been made), and menacing figures who don't really menace (Carnovski & Miller). Together these undercut the strong points, such as the train scenes (how Prince & Bogart have bonded) or certain good story points (the unidentifiable corpse, the poignant last scene).
In passing-- this is not a gripe, but I suspect Columbia was using Bogart to build Scott into another Lauren Bacall. The two look somewhat alike, sound somewhat alike, and both built careers on appearance and attitude rather than ability. Here Bogart ends up calling Scott's character "Mike", just the sort of sidekick affection he shows for real life wife Bacall in their several movies together. Nothing obvious hangs on this, just a surmise that the movie may have been shaped for more than one purpose. However that may be, the movie amounts to okay but unmemorable noir entertainment.
I've got two basic gripes. First, Scott may look the part, but she's no Jane Greer (Out of the Past. 1947). Above all, noir's spider women have to be good actresses so that we never know their true feelings. That trickiness means we can get suckered along with the hero. But it also means we get suckered against our better judgement because we and the hero suspect their sincerity all along. Scott's performance lacks that crucial element of trickiness-- hers is essentially a one note performance with no hint of a gap between how she feels and how she behaves. Thus, there's no real revelation at the end because she looks and acts the same as before. As a result, the betrayal is all in the script and crucially not where it belongs-- in the performance.
Speaking of the script-- the banter is too cute by-half. Practically every line out of Bogart's mouth shouts clever writer's device, whether it's baseball metaphors (strike one, strike two, etc), car metaphors, or the various other false rhetorical notes. For me, it gets tiresome, Bogart or no Bogart. Then too, Carnovski's queasy racketeer is made to enunciate his lines with perfectly parsed diction. Of course, that makes him a more interesting character and criminal mastermind. But, this again amounts to a device that calls attention to the words being said instead of to who is saying them or how the plot is helped along. It seems to me that a good script carries a story without competing with it.
These are my two main gripes. There are other reasons I think the movie doesn't get beyond second-rate noir, such as uninspired direction (whether Cromwell's name is elevated above the title or not), overly long love scenes (after the point has been made), and menacing figures who don't really menace (Carnovski & Miller). Together these undercut the strong points, such as the train scenes (how Prince & Bogart have bonded) or certain good story points (the unidentifiable corpse, the poignant last scene).
In passing-- this is not a gripe, but I suspect Columbia was using Bogart to build Scott into another Lauren Bacall. The two look somewhat alike, sound somewhat alike, and both built careers on appearance and attitude rather than ability. Here Bogart ends up calling Scott's character "Mike", just the sort of sidekick affection he shows for real life wife Bacall in their several movies together. Nothing obvious hangs on this, just a surmise that the movie may have been shaped for more than one purpose. However that may be, the movie amounts to okay but unmemorable noir entertainment.
A long way behind "Gilda" in likability
Nazi_Fighter_David10 April 2005
Warning: Spoilers
"Dead Reckoning" is somewhat of a rehashing of the plots and dialog of "The Maltese Falcon" and "The Big Sleep," but it contains much more visual violence
It is a typical Hollywood film noir of the post-war but a long way behind "Gilda" in likability
Bogart is again portraying his now all-too-familiar role of the sardonic cynic with his own moral code who, this time, is on the trail of a killer who has murdered a wartime paratrooper friend
Lizabeth Scott is cast as Bogart's femme fatale, obviously hoping to exploit her close resemblance to Lauren Bacall Unfortunately, like Bacall, her first few films found her equally awkward and expressionless
Bogart is again portraying his now all-too-familiar role of the sardonic cynic with his own moral code who, this time, is on the trail of a killer who has murdered a wartime paratrooper friend
Lizabeth Scott is cast as Bogart's femme fatale, obviously hoping to exploit her close resemblance to Lauren Bacall Unfortunately, like Bacall, her first few films found her equally awkward and expressionless
Film Noir at is Bogey Best
Anyanwu11 January 2002
The one liners; the dialogue that stops mid sentence; the black & white look; tough double crossin dames. This is great film noir or whatever its called. Bogey gets even. And Lizbeth Scott has the best voice this side of L. Bacall. Nice overbite. This is a good one to curl up and watch with the rain pounding outside. Too bad I live in this God forsaken So Cal where it never rains.
Bogart & Scott Film Classic
whpratt129 September 2007
Enjoyed all of Humphrey Bogart's films along with a very sexy actress, Lizabeth Scott,('Dusty' Chandler) who gave outstanding performances in their one and only film together. Bogart plays the role of Capt.'Rip' Murdock who is traveling by railroad with his Army buddy, Sgt. Johnny Drake, (William Prince) who is going to Washington, D.C. to receive a Medal of Honor award, but somehow disappears off the train. Rip decides to investigate his buddy's disappearance and runs into 'Dusty' and finds out she was Johnny Drake's ex-girl friend and he seeks her help and assistance and becomes very much in love with her. There are some very dark secrets that 'Dusty' is keeping from Rip and when these secrets are revealed this film will take you into another tricky ending. Great Classic and a very entertaining film which keeps your interest in the beginning, and gets rather slow and boring in the middle of the film, but the ending is a knock out.
Classic example of film noir
The_Void14 July 2006
This slice of film noir isn't one of the better known ones, and the reason for that is probably because it doesn't have any real stand out elements about it; but the film does work excellently as a textbook example of the style of film-making. The most notable thing about the film is the fact that it features a leading performance from the great Humphrey Bogart. Bogart's personality has always been more than a little bit over the top, but it often isn't too noticeable. For some reason, however, it really sticks out in this film; but it somehow fits the dialogue like a glove, and the feel of this film is very much in the true classic style of noir. The plot is pretty standard, and follows Bogart's character; an ex-paratrooper, who is looking for a friend of his that disappeared after being accused of murder. However, he gets more than he bargained for when he hooks up with his friend's mistress, 'Dusty' Chandler. The atmosphere of the movie is dark and mysterious, and this blends brilliantly with the brooding plot line. The film manages to pull in many of the standard noir elements; best of which is the femme fatale; excellently brought to life by Lizabeth Scott. Overall, Dead Reckoning is a very good example of the film noir style of film-making, and while it's not one of the 'must see' films; it's certainly well worth bothering with.
Over Familiar Film Noir (though it still has Bogart)
BJJManchester22 October 2008
Warning: Spoilers
DEAD RECKONING has every possible element and cliché of 40's Hollywood film noir,with the disadvantages of an ill-chosen director,John Cromwell (who usually specialised in tearjerker or straightforward melodramas),a rather weak supporting cast,dated stereotypes and hackneyed plot.It would have ended up confined to B-movie obscurity had it not been for one factor:Humphrey Bogart.
The story (war veteran seeks his fellow conflict hero buddy in his hometown,only to find out he gets killed,and tries to find out why),the dialogue and characterisations (cynical,hard-boiled) the settings (seedy nightclubs,plush apartments) characters and flashback structure were even in the mid-1940's when this film was made,so over-acquainted to audiences that such cinematic essays were teetering on the verge of parody.DEAD RECKONING perilously comes close to that said description,with it's lack of originality and style,but it is redeemed to the point of watchability simply by the presence of one of Hollywood's all time greats.He is given no chance to particularly stretch his talents,but Bogart was the all-time master of world-weary cynicism and nonchalant sarcasm,and by force of his sheer charisma rises above the mediocrity surrounding him.The supporting cast involved (Lizabeth Scott,Morris Carnovsky,Marvin Miller) are adequate but pale alongside Lauren Bacall,Sydney Greenstreet and Peter Lorre who they are obviously trying to emulate,and large chunks of the story are inferior derivatives from such classics as THE MALTESE FALCON,THE BIG SLEEP and GILDA,with a monotonous voice-over which would have been unacceptably over-literal had Bogie not been it's instigator.
DEAD RECKONING is fortunate to be saved by Bogart's cinematic persona,and the only truly memorable or imaginative touch is reserved for the film's very final shot;with the same studio (Columbia),Bogart would make a far better example of post-war Film Noir three years later with IN A LONELY PLACE,with a much more interesting and inventive plot,in-depth characterisations and directorial style.
RATING:6 and a half out of 10.
The story (war veteran seeks his fellow conflict hero buddy in his hometown,only to find out he gets killed,and tries to find out why),the dialogue and characterisations (cynical,hard-boiled) the settings (seedy nightclubs,plush apartments) characters and flashback structure were even in the mid-1940's when this film was made,so over-acquainted to audiences that such cinematic essays were teetering on the verge of parody.DEAD RECKONING perilously comes close to that said description,with it's lack of originality and style,but it is redeemed to the point of watchability simply by the presence of one of Hollywood's all time greats.He is given no chance to particularly stretch his talents,but Bogart was the all-time master of world-weary cynicism and nonchalant sarcasm,and by force of his sheer charisma rises above the mediocrity surrounding him.The supporting cast involved (Lizabeth Scott,Morris Carnovsky,Marvin Miller) are adequate but pale alongside Lauren Bacall,Sydney Greenstreet and Peter Lorre who they are obviously trying to emulate,and large chunks of the story are inferior derivatives from such classics as THE MALTESE FALCON,THE BIG SLEEP and GILDA,with a monotonous voice-over which would have been unacceptably over-literal had Bogie not been it's instigator.
DEAD RECKONING is fortunate to be saved by Bogart's cinematic persona,and the only truly memorable or imaginative touch is reserved for the film's very final shot;with the same studio (Columbia),Bogart would make a far better example of post-war Film Noir three years later with IN A LONELY PLACE,with a much more interesting and inventive plot,in-depth characterisations and directorial style.
RATING:6 and a half out of 10.
All the Stereotypes
Hitchcoc7 November 2020
Those caricatures of Humphrey Bogart come into play in this Noir. After "The Maltese Falcon" Bogie played his tough, suspicious Sam Spade character to perfection. Of course, the woman is never to be trusted. Here is best friend dies under suspicious circumstances, having been accused of murder. They were paratroopers during the war. There are some cool scenes, but nothing cooler than watching those steely eyes and the curled lip of our hero. This may be one of his better films.
"Maybe she was alright, and maybe Christmas comes in July, but I didn't believe it."
classicsoncall14 May 2006
Warning: Spoilers
Shades of "The Big Sleep", another and better known Bogart film, "Dead Reckoning" may not be as convoluted as it's precursor, but it will leave you asking just as many questions. Can you really come away from the film knowing who killed Stuart Chandler? By the time it's over we have three confessions over 'who done it', and each is patently logical, so take your pick and have some fun with this one.
As a cab driver and Army Captain, Warren 'Rip' Murdock (Bogey) makes a great detective. As in "The Maltese Falcon", when a guy's pal is killed, a guy ought to do something about it. The pal in question is introduced as Sergeant Johnny Drake (William Prince), a fellow paratrooper whisked out of Germany along with Murdock to receive a 'Congressional' upon his Captain's recommendation. Trouble is, that might reveal his true identity, that of John Joseph Preston, Yale 40 as established by a university pin that Murdock sees by accident.
When Preston/Drake winds up burned to a crisp in an auto wreck, the sordid trail leads Murdock to a sultry blonde, a gangster style club owner and a police lieutenant who seems to be everywhere. All the characters seem to be stand ins for more familiar Bogart supporting players; Lizabeth Scott for Lauren Bacall, Morris Carnovsky for Sidney Greenstreet, and Charles Cane for Barton MacLane or Ward Bond. Sanctuary Club owner Martinelli (Carnovsky) even employs an over-sized Peter Lorre type named Krause (Marvin Miller), who's main talent seems to be inflicting bodily harm.
Most of the film employs a single flashback told in largely narrative style by Bogart's character, and to a priest no less while he's on the lam from mobsters and the law. It's generally done effectively, but I would have preferred more of the trademark 'Falcon' repartee from Bogey's character, though there is plenty of that too. The film hits stride when it catches up to real time right outside the Southern Hotel as the German lug Krause belts Captain Kincaid allowing Murdock to beat a hasty retreat; it's at that point where the movie started.
You'll be hard pressed to come across a more chauvinistic description of women than the one Murdock shares with Coral 'Dusty' Chandler (Scott). In an odd way, she seemed to buy it, the analogy to a four inch pocket pal notwithstanding. The writers seemed to like it too, the comparison was used at least a couple more times in the story. That, and the old 'Geronimo' line, a not so subtle reference to Murdock's paratroop days.
Though the movie's comparisons to "The Big Sleep" and "The Maltese Falcon" are transparent to Bogart fans, how about the short scene in the convertible with Dusty driving and Murdock a passenger? That one looked like it was ripped from the Paris auto scene in "Casablanca", though I don't recall Ingrid Bergman tossing her hair around so much. Later, Murdock finds a way to throw in a casual literal analogy - "My bet's on you, kid".
For film noir fans, "Dead Reckoning" is a story full of the old cross and double cross, splendidly told in a way that leaves more questions than answers. By the time it's over, you're invested enough in the characters to be put off balance by the way it ends. Murdock turns out to be every bit as effective as a Sam Spade or a Phillip Marlowe, even if he does have to rely on a bag with a persuader and a couple of coaxes.
As a cab driver and Army Captain, Warren 'Rip' Murdock (Bogey) makes a great detective. As in "The Maltese Falcon", when a guy's pal is killed, a guy ought to do something about it. The pal in question is introduced as Sergeant Johnny Drake (William Prince), a fellow paratrooper whisked out of Germany along with Murdock to receive a 'Congressional' upon his Captain's recommendation. Trouble is, that might reveal his true identity, that of John Joseph Preston, Yale 40 as established by a university pin that Murdock sees by accident.
When Preston/Drake winds up burned to a crisp in an auto wreck, the sordid trail leads Murdock to a sultry blonde, a gangster style club owner and a police lieutenant who seems to be everywhere. All the characters seem to be stand ins for more familiar Bogart supporting players; Lizabeth Scott for Lauren Bacall, Morris Carnovsky for Sidney Greenstreet, and Charles Cane for Barton MacLane or Ward Bond. Sanctuary Club owner Martinelli (Carnovsky) even employs an over-sized Peter Lorre type named Krause (Marvin Miller), who's main talent seems to be inflicting bodily harm.
Most of the film employs a single flashback told in largely narrative style by Bogart's character, and to a priest no less while he's on the lam from mobsters and the law. It's generally done effectively, but I would have preferred more of the trademark 'Falcon' repartee from Bogey's character, though there is plenty of that too. The film hits stride when it catches up to real time right outside the Southern Hotel as the German lug Krause belts Captain Kincaid allowing Murdock to beat a hasty retreat; it's at that point where the movie started.
You'll be hard pressed to come across a more chauvinistic description of women than the one Murdock shares with Coral 'Dusty' Chandler (Scott). In an odd way, she seemed to buy it, the analogy to a four inch pocket pal notwithstanding. The writers seemed to like it too, the comparison was used at least a couple more times in the story. That, and the old 'Geronimo' line, a not so subtle reference to Murdock's paratroop days.
Though the movie's comparisons to "The Big Sleep" and "The Maltese Falcon" are transparent to Bogart fans, how about the short scene in the convertible with Dusty driving and Murdock a passenger? That one looked like it was ripped from the Paris auto scene in "Casablanca", though I don't recall Ingrid Bergman tossing her hair around so much. Later, Murdock finds a way to throw in a casual literal analogy - "My bet's on you, kid".
For film noir fans, "Dead Reckoning" is a story full of the old cross and double cross, splendidly told in a way that leaves more questions than answers. By the time it's over, you're invested enough in the characters to be put off balance by the way it ends. Murdock turns out to be every bit as effective as a Sam Spade or a Phillip Marlowe, even if he does have to rely on a bag with a persuader and a couple of coaxes.
Good Start & Finish But Uninvolving Overall
ccthemovieman-15 May 2006
The bulk of this film, the middle of it, was just too slow for me, hence the so-so rating. The beginning and endings were very good, especially several scenes in the final half hour. There were several twists concerning Lizabeth Scott's character that kept you guessing.
There were other things going for this film, such as Humphrey Bogart's narration. He had a lot of good lines in here, either narrating or talking to others. He and Scott were the stars but some of the supporting players also were great, such as Morris Carnovsky as the tough-guy aide, "Martinelli. " Also, they may not be big names but Charles Cane, William Prince, Marin Miller, Wallace Ford and James Bell all added nice performance here.
Yet, with all this going for it, I didn't find the film as involving as it should have been. Perhaps another look someone will change my mind.
There were other things going for this film, such as Humphrey Bogart's narration. He had a lot of good lines in here, either narrating or talking to others. He and Scott were the stars but some of the supporting players also were great, such as Morris Carnovsky as the tough-guy aide, "Martinelli. " Also, they may not be big names but Charles Cane, William Prince, Marin Miller, Wallace Ford and James Bell all added nice performance here.
Yet, with all this going for it, I didn't find the film as involving as it should have been. Perhaps another look someone will change my mind.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
