Dreadfully Boring

Story: It's very simple but honestly that is fine.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

You can always rely on William Cameron Menzies for striking visuals and tingling atmosphere. This fascinating little movie, "The Whip Hand", proves to be no exception -- even though the final revelation is actually rather disappointing. Originally the film was made under the title The Man He Found, the "found man" being Adolf Hitler, not only living on but actually plotting postwar stratagems with the connivance of the citizenry of a small American town. But executive producer Howard Hughes thought that the Communists who were really active at the time not only presented a far greater menace than a vanquished Fascist, but would really intrigue American audiences. So the film was partly re-shot. As it happened Hughes's hunch was wrong. The film lost money, even on its comparatively modest (at least for a competitive "A" feature) negative cost of only $376,000. It could even be argued that the climax is hardly worth all the build-up, but nonetheless, when the movie is directed and designed by the brilliant William Cameron Menzies, as far as I am concerned, it rates as a must-see item on any account.

This film was the product of two main thoughts; 1) "Lets make a film about Nazi fifth columnists...." and 2) " hang on, let's make the bad guys ex-Nazis who are now Communists instead..." and so a muddled, overly expensive film is born. It would have been bad enough if the second thought had been shortly after the first, but it wasn't; the film had to be re-shot in part, and it shows.This film isn't entirely without merit, but for me the story just doesn't make sense; leave alone the usual business where the bad guys insist on explaining their dark deeds in detail whilst not disposing of the good guys, or taking the opportunity to push the button etc (as seen in countless films ranging from 'The thirty-nine steps' to various Bond outings); here we are expected to believe that one of the main bad guys has comparatively recently been the subject of an exposé in a national magazine, but, er, this didn't immediately alert the bad guys when the writer turns up. Even though they knew all about it.Oh, and while we're at it, you might notice that the good guy gets hit on the head twice, but in exactly the same place each time. What are the chances of that...? Quite high if you are trying to cobble a film together without having to reshoot the whole thing, as it turns out....Just about worth watching if you have an interest in films of this type.

This is One Odd Movie. Starting with the Title that is Meaningless Unless One Knows About a "Riding" Term Meaning the Upper Hand or Some Such Thing, Suffice to Say it is Meaningless. Add to That the Story was Changed Midstream from Nazis to Communist at the Insistence of Howard Hughes.Still, Director Menzies Manages to Make the Thing Look Good, Despite Some Bad Acting that He Left Unattended. The Film Still Manages to Bring the Paranoia of the Time Front and Center with Bizarre Scenes and a Foreboding Atmosphere.It Really Kicks In with the Third Act that Includes Mad Lab Scenes, Female Bondage, Zombie Like People Used as Guinea Pigs, and Some Communist Nut-Case Speeches. This is One of Quirkiest Entries in the Anti-Communist Movies Made During the McCarthy Era and that is Saying Something because Most of Them were Really Quirky.The Commie Characters All Look Like Something Out of a Comic Book with Exaggerated Features and Props. They're One Scary Looking Bunch. The Protagonist and His Love Interest are So Sanitized and "Normal" Looking They Seem to have Stepped Out of a Disney Movie. The Contrast is Quite Startling and Add to the Surreal Nature of the Movie When Watched Today.

The anti-communist film was a malignant undergrowth to the noir cycle; there has probably never been such a clumsy or dispirited clump of films ever foisted on the public. Some of them, nonetheless, have their moments. The Whip Hand, directed by William Cameron Menzies, is one of these (possibly because it started as an anti-Nazi intrigue piece before then-RKO boss Howard Hughes decreed that the Commies would make better box-office in 1951, the high noon of McCarthyism). Journalist Matt Corbin (Elliott Reid) is on a solo fishing trip somewhere in northern Minnesota (probably not far from Jefty's Road House), when he conks his head. Seeking medical attention, he stumbles into a strange town where he's told to fish elsewhere, as a virus, or something, has wiped out all the fish. It's kind of like Bad Day at Black Rock, where a loner insists on solving a terrible secret despite the fact that the whole town is in on the conspiracy. He can't even get a message out, or, if he does.... A bearded Raymond Burr is an outwardly jovial innkeeper and the best actor in this curious film, which manages to generate some tension and suspense along the way.