Director: Jacques Tourneur
Writer: Ardel Wray, based on the novel, Black Alibi, by Cornell Woolrich, with additional dialogue by Edward Dein
Stars: Dennis O’Keefe, Margo and Jean Brooks
Index: 2017 Centennials.
Putting my mere four names to shame, María Marguerita Guadalupe Teresa Estela Bolado Castilla y O'Donnell was born in Mexico City one hundred years ago today, though she shrank that name down about as far as possible for her screen career. However, as Margo, she didn’t make as many movies as she should have done, as she was blacklisted just as her star was rising. Even her more famous second husband, Eddie Albert, was caught up in that debacle too, and only found abiding fame after his service in the U.S. Navy during World War II. That’s a shame, because Margo showed great potential even as a child. At a mere nine years of age, she performed in nightclubs as a specialty dancer for Xavier Cugat and His Orchestra; that bandleader would marry her aunt, Carmen Castillo, when Margo was twelve. At seventeen, she was plucked off the dancefloor to play Claude Rains’s ex-lover in Crime without Passion. It ensured a screen career, which built steadily until her blacklisting, after which her roles became few and far between.
Even with only fourteen feature films to her name, I had a choice for this project. She was well regarded in Winterset in 1936, in a role which she’d originated on stage, in both instances playing the screen girlfriend of Burgess Meredith. She was also notable in Frank Capra’s Lost Horizon a year later, as the beautiful young lady who ages and dies rapidly after leaving Shangri-La. However, I went with this one as it’s a personal favourite of mine, even among the works of producer Val Lewton, whose fourteen pictures at RKO during the forties included nine horror movies which revolutionised the genre. At a time when Universal were the only real player in the genre left and their work after The Wolf Man had become a string of sequels, Lewton’s films really filled the gap, with a set of quality pictures that were written well, with deep thematic substance; shot well, with incredible use of light and shadows, as befitted the beginnings of the film noir era; and directed well, by a string of names who would go on to serious fame.