Truly Dreadful Film

Beautiful, moving film.

an ambitious but ultimately ineffective debut endeavor.

Mostly, the movie is committed to the value of a good time.

"Voice of the Whistler" is an interesting entry in the Whistler series in several aspects. The first half of the movie will lead you to believe that it will be the story of a dying man trying to improve his life before he passes on. It is treated pretty seriously, and there is nothing chilling or horrifying about the movie during this first half. Things do start to get darker in the second half of the movie, but not right away - it's only in the last fifteen or so minutes that the movie gets seriously dark. And the way the movie unfolds during those last fifteen minutes feels more like a noir of the period than a suspense drama. Although my above description of the movie may make it sound to be somewhat of a mess, it's actually executed fairly well. It's fairly briskly paced and never boring - you'll be wondering what exactly will happen in the end (though the flash forward scene at the beginning of the movie does take out some of the punch at the end.) This is a nice little B movie that does its job in just sixty minutes.

Cheaply made entry into the Whistler series of films produced in the 1940s and directed with skill by soon-to-be showman/horror director extraordanaire William Castle. This is one of Castle's earlier films and you can see his burgeoning skills as a director - especially in the third act of this film. The story here concerns a wealthy industrialist taking time from his job and identity to make himself better though time is against him. The doctors tell him he is sick because of a lack of friends. He therefore gets some friends - and then makes a business agreement with a pretty nurse to marry him for six months(what time he has been told he has allotted) and then she upon his death will never want for nothing financially. Well, she had a fiancée and the story then moves to a weird love triangle in a lighthouse that has been turned into living quarters. This film has quite a few obvious flaws. For starters, the acting is very poor. Richard Dix who starred in most of the films in this series is at best bland. His range of emotion wouldn't cast a blip on a radar of any magnitude. He is overall acceptable but nothing grand to be sure. His fellow actors don't fair any better - in fact - much worse with the exception of Rhys Williams who plays the affable Ernie. Williams has screen presence and acting ability and innate charm for the camera. He works. Pity the rest do not. Lynn Merrick is okay as the mean-spirited, nasty, avaricious beauty that makes the deal with Dix only to regret it later. Merrick can be seen in some scenes looking at the camera early on in the film as can many of the smaller role actors. Castle apparently does not have much to work with here and it shows. Nonetheless, the film is short and does move quickly. The end is fairly inventive and this is certainly a watchable film at the very least.

One of the best of the offbeat series. About 15 or 20 minutes into the screenplay and we still can't be sure what direction the story will take or how it will turn out. We're being set up for something, but without the usual conventions, it's hard to know what. In fact, this is one of the most unusual plot turn-arounds of that period. No doubt, a little programmer like this could get away with a lot more than a higher profile project. That's why there's more movie gold to be found under the 40's radar screen than on it.Richard Dix is perfectly cast as the burned-out magnate looking for a new lease on life after years of cut-throat competition at the top. In fact he looks like he's at tether's end until he meets the sweet blonde nurse. ( Prophetically, the alcoholic Dix would die a few short years later). However, the chummy stroll with cabbie Rhys Williams along poverty row is rather overdone, while the roomful of cheerful clinic patients smacks of pure Hollywood pretense. On the other hand, the converted lighthouse amounts to an inspired bit of "mise-en-scene", with a moonlit seascape that stretches into a glimpse of eternity and a perfect backdrop for the events that follow. I don't know if the writers intended the screenplay as a cynical commentary on friendship among the poor and those who serve them, but it certainly looks that way. The irony isn't played up, but it's still there. Also, note how the closing shot amounts to a spooky warning that in such matters, no one gets off scot free. Then too, if there's a moral to the story, I suggest something like never messing with a guy who has battled his way to the top of the business dog pile. Anyhow, it's an intriguing little 60 minutes, more than worthy of that shadowy figure of fate and master of graveyard commentary, the Whistler.

Whistler no.4 was imho perhaps the weakest of the 8 in the series, the main trouble being the plot change from seedy tarmac to invigorating lighthouse. This still means it's an atmospheric, interesting and inventive mystery thriller, keeping you on your toes with all the twists to the very end.Rich, friendless and ill industrialist Richard Dix has a heart attack and gets ordered to go on vacation, forget about work and de-stress. He bumps into an English ex-boxer cocky Ernie Sparrow who befriends him and shows him round his poor but friendly neighbourhood. But sadly it doesn't last long as a new story direction is suddenly taken. You go from feeling sympathetic for everyone to feeling it only for Sparrow, such is the effect of the "business arrangement" that was made. Favourite bits: Some of the homely scenes looking out of the lighthouse windows stick in the mind; Lynn Merrick never looked lovelier this side of Boston Blackie, or out of a saddle either.If you like the genre like me it's a nice little film, an hour well spent.