Black Angel starts with a style kicker, a startling animated crane shot up to Mavis Marlowe's tenth floor window. That florish isn't typical of the balance of the film which plays out just slowly enough for the seams to show in the tricky plot. The crisp direction is by Roy William Neill, a veteran of Sherlock Holmes movies (and Frankenstein meets the Wolf Man) who had been directing since 1917. He died less than a year after completing this picture.

The direction doesn't hide the telegraphed information in the screenplay, or cover over some gaping plot questions. To name just one, why wouldn't Martin Blair have been asked in the trial to identify Kirk Bennett as the mystery man he saw at Mavis' apartment? Small details like the alibi-reinforcing deadbolt that locks Martin into his room stand out rather strongly. Director Neil does a fine job of leading us to the big revelation in the final reel, but we kind of suspect it all along. At least the twist isn't as clumsy as in the bad Curtis Bernhardt-Humphrey Bogart picture Conflict.

Films noir either have protagonists compromised by the dark and angst-ridden side of life, or like Dan Duryea's Martin Blair they are unusually weak characters struggling against powers they don't understand. Martin's lovesickness for the lost Mavis hangs from his neck like an albatross, and helping Catherine seems to fend off his incipient alcoholism. Since Catherine used to be a singer, they can team up as an undercover entertaining pair to penetrate the nightclub of the sinister Marko (Peter Lorre), where they think they might find the real killer. Catherine and Martin generate a nice tension when it becomes obvious that he's a better choice for her than her two-timing husband. More detail might spoil the story.

Dan Duryea makes an excellent "weak" hero as he could go either way, either giving in to his inner demons or finding hidden resources of strength. Critics liked his starring position, and when leading man roles eluded him, he had the compensation of better-than-average supporting work in excellent noirs like Too Late for Tears and Criss Cross.

June Vincent has an interesting look but never convinces as an ordinary housewife after we see her gowned and singing in Peter Lorre's nightclub. Notable beauty Constance Dowling is the duplicitous Mavis; after a go-nowhere career in America and Italy she starred in GOG and then married its producer Ivan Tors. Fans hoping for a meaty Peter Lorre role won't find it here as he strictly cruises through a stock part with no surprises. Familiar face Broderick Crawford seems cramped in the role of the stooge detective; if he knew he'd have an Oscar in four years he might not look so frustrated. Wallace Ford (Freaks) is Martin's buddy and alcohol-enabler, and sinister Ben Bard of The Seventh Victim has a bit as a bartender.

Universal's DVD of Black Angel starts with a grainy-looking logo (that wonderful 40s globe with the glass stars) but the rest of the show is in fine shape, with excellent blacks. The trailer included as an extras is loaded with great text, like "What do women see in a man like that?"

Universal's excellent package artwork design combines three different stills for an arresting composition. A quote from Andrew Sarris says that he ranks the movie highly among screen thrillers. That's generous but Black Angel is a good show.

On a scale of Excellent, Good, Fair, and Poor, Black Angel rates:
Movie: Very Good +
Video: Excellent
Sound: Excellent
Supplements: Trailer
Packaging: Keep case
Reviewed: August 7, 2004