I intend dedicating the month to Noir viewing (to contrast the ongoing Luis Bunuel and a proposed James Whale retrospectives): this is not one, strictly speaking, but the key element of that style (namely shadowy lighting) is already well in evidence here. Though not a "Pre-Code" either, we do get an extra-marital affair and an indiscretion for extortion purposes among the numerous subplots! The premise is actually very similar to that of director Leisen's own MURDER AT THE VANITIES from the previous year (which I own but have yet to watch), given the backstage setting; amazingly, though several musical numbers (virtually spanning the film's entire 70-minute run) were commissioned, not once is the camera directed at the proscenium!
Leisen was still at the beginning of his career, so he was dabbling in many genres before eventually settling on comedy-dramas as his forte (if anything, the two are deftly combined in the film under review). Apart from being stylishly handled, FOUR HOURS TO KILL! is beautifully written (by Norman Krasna) – with most of the plot complications that unfold being happily resolved by the last act (including Roscoe Karns' baby anxieties and a couple of meek old foreigners' seating misunderstanding). While considered a star-studded film in its day (a common practice back then spear-headed by 1932's GRAND HOTEL, likewise restricted to one enclosed but invariably busy space), casting is actually pretty low-key – largely made up of has-been (Richard Barthelmess), up-and-coming (Ray Milland) or character (Henry Travers) actors!
Barthelmess as a criminal awaiting execution – hence the ironic title – and longing to avenge himself on his former partner actually delivers a powerful (albeit stagey by today's standards) performance. Rendered all the more chilling by his baby-face and comparably soft voice, he is especially effective during a scene half-way through when he describes his troubled background to his not unsympathetic guardian and, later, when the two try to figure out what the cop's teen daughter might like as a graduation present. At the end, when Barthelmess is shot dead – after he cleverly lures his quarry to the theater for the inevitable showdown – and thanks his 'pal' for freeing him, his poignant words are mistaken by the policeman's superior as the ravings of a dying man! Bafflingly, given its evident quality, the film seems to be quite rare (not even a U.S. poster can be found online!) and even the copy I watched was culled from a French TCM screening, accompanied by forced subtitles in that language!
Leisen was still at the beginning of his career, so he was dabbling in many genres before eventually settling on comedy-dramas as his forte (if anything, the two are deftly combined in the film under review). Apart from being stylishly handled, FOUR HOURS TO KILL! is beautifully written (by Norman Krasna) – with most of the plot complications that unfold being happily resolved by the last act (including Roscoe Karns' baby anxieties and a couple of meek old foreigners' seating misunderstanding). While considered a star-studded film in its day (a common practice back then spear-headed by 1932's GRAND HOTEL, likewise restricted to one enclosed but invariably busy space), casting is actually pretty low-key – largely made up of has-been (Richard Barthelmess), up-and-coming (Ray Milland) or character (Henry Travers) actors!
Barthelmess as a criminal awaiting execution – hence the ironic title – and longing to avenge himself on his former partner actually delivers a powerful (albeit stagey by today's standards) performance. Rendered all the more chilling by his baby-face and comparably soft voice, he is especially effective during a scene half-way through when he describes his troubled background to his not unsympathetic guardian and, later, when the two try to figure out what the cop's teen daughter might like as a graduation present. At the end, when Barthelmess is shot dead – after he cleverly lures his quarry to the theater for the inevitable showdown – and thanks his 'pal' for freeing him, his poignant words are mistaken by the policeman's superior as the ravings of a dying man! Bafflingly, given its evident quality, the film seems to be quite rare (not even a U.S. poster can be found online!) and even the copy I watched was culled from a French TCM screening, accompanied by forced subtitles in that language!