| Vintage Pulp | Dec 24 2017 |
Michael Shayne stabs Phillip Marlowe in the back.
Above you see a promo poster for the detective yarn The Time To Kill, a movie that premiered in the U.S. today in 1943 and has a mildly convoluted provenance that will be interesting to pulp fans. Mystery authors Brett Halliday and Raymond Chandler were both popular writers, but Twentieth Century Fox had already made six movies based on Halliday's novels. So they bought Chandler's The High Window and changed the main character from Phillip Marlowe to Halliday's franchise detective Michael Shayne. We don't know if Chandler and Halliday had any sort of rivalry to that point, but we wouldn't be surprised if one started.
Fox had made the previous Shayne flicks in just two years, and they're light in tone, which is one reason we think websites that label The Time To Kill a film noir are stretching. The lead character is not a driven loner, the general sense of corruption is nowhere to be found, and most of the usual noir iconography, such as rain or water, neon, newspapers, sidewalks, etc., is absent. No flashbacks. No voiceover. Nothing. Co-star Doris Merrick is a femme fatale perhaps, but virtually any woman in a crime thriller can fit that cubbyhole. Then surprise—four fifths of the way through its running time the movie shifts gears—Shayne walks into a nighttime murder scene that's draped with shadows and ill portent, but even this is played for laughs when he pratfalls down a staircase. And the ultimate fate of the villain is basically a bad barroom joke.
Director Herbert Leeds had worked on a variety of low budget westerns, comedies, and serials, and was a technician, not a stylist. His spliced in noir sequence is a nice nod to an emerging trend, but we don't think it pushes what is mainly a goofball detective film into noir territory. In general, his were a safe pair of hands tasked with churning out movies at high speed. The Time To Kill is a typically perfunctory Leeds effort—one hour and one minute long, meant to be consumed like penny candy. So we don't think it's a film noir, but hey—we just run a silly website. What do we know? And does it even matter? The Time To Kill is a decent enough distraction, however you categorize it.
Fox had made the previous Shayne flicks in just two years, and they're light in tone, which is one reason we think websites that label The Time To Kill a film noir are stretching. The lead character is not a driven loner, the general sense of corruption is nowhere to be found, and most of the usual noir iconography, such as rain or water, neon, newspapers, sidewalks, etc., is absent. No flashbacks. No voiceover. Nothing. Co-star Doris Merrick is a femme fatale perhaps, but virtually any woman in a crime thriller can fit that cubbyhole. Then surprise—four fifths of the way through its running time the movie shifts gears—Shayne walks into a nighttime murder scene that's draped with shadows and ill portent, but even this is played for laughs when he pratfalls down a staircase. And the ultimate fate of the villain is basically a bad barroom joke.
Director Herbert Leeds had worked on a variety of low budget westerns, comedies, and serials, and was a technician, not a stylist. His spliced in noir sequence is a nice nod to an emerging trend, but we don't think it pushes what is mainly a goofball detective film into noir territory. In general, his were a safe pair of hands tasked with churning out movies at high speed. The Time To Kill is a typically perfunctory Leeds effort—one hour and one minute long, meant to be consumed like penny candy. So we don't think it's a film noir, but hey—we just run a silly website. What do we know? And does it even matter? The Time To Kill is a decent enough distraction, however you categorize it.
Twentieth Century FoxThe Time To KillLloyd NolanRaymond ChandlerBrett HallidayHerbert LeedsDoris Merrickposter artcinemaliteraturemovie review
