646f9e108c A wealthy man hires a detective to investigate his wife's past. The detective (Franchot Tone) discovers that the wife had been a dancer and left her home town with an actor. The latter is killed before he can talk, but, with the help of a showgirl, the detective learns that the wife had used stolen papers from a girl friend to enter college after she had stolen $40,000 from the night club where she worked. The detective eventually learns that the husband had killed his wife when he discovered her past in order to avoid a scandal, and had hired the detective to try and frame him for the killing.
Roy Huggins who later wrote and produced and gained a big reputation on the small screen for quality, wrote the mystery novel on which this film is based. I Love Trouble clearly shows the influence of Dashiell Hammett and Raymond Chandler in both plot and characters.<br/><br/>Franchot Tone is our protagonist private eye Stu Bailey, a character name that would recur again on the big and small screen. Tom Powers hires him to find his missing wife. On the trail he's aided and abetted by his loyal girl Friday Glenda Farrell who is the most memorable character in the film in a movie chock full of good character performances. <br/><br/>A lot of people are interested in this woman including millionaire wife Janis Carter, her 'sister' Janet Blair, sleazy nightclub owner Steven Geray and his henchmen who include John Ireland and Raymond Burr. They're a memorable bunch, but almost as memorable as Farrell are spoiled wife Adele Jergens who makes a big play for Tone and nightclub comic Sid Tomack who is not above a little information peddling on the side that costs him dear.<br/><br/>I'm surprised Tone did not do more roles like this. He certainly displayed the proper and expected laconic behavior for a private detective. It was that typecasting he could never get away from. The studio brass wanted him in formal evening wear dispensing bon mots and generally losing the girl in A films to the likes of Clark Gable at his first studio MGM.<br/><br/>I Love Trouble is not anything like the Julia Roberts/Nick Nolte film of more recent vintage. Instead it's a nifty noir mystery from Columbia. In fact it's really two mysteries that sort of get jumbled together in Tone's investigation. Hopefully that whets your appetite to see it.
Trouble could be her middle name as this bubble dancer reveals secrets about her past with the help of some truly bizarre characters. Private detective Franchot Tone must find out the past of the wife of his client and what he ends up with is more trouble than love can handle. Along the way he meets a bunch of shady characters curious to find out why he's trying to find out info on this person, including some shady nightclub proprietors, a cockney waitress with an incredible gift of twisting conversations away from the questions being asked her. Then there's the sister of the investigated dame whose presence instantly brings a ton of other questions, not all of which will be answered. <br/><br/>This features a truly smart alecky screenplay and plenty of twists and turns that make you say, "huh?" until the end which in a second's notice becomes "Ah ha!" When you've got females involved like Janet Blair, Adele Jergens, Janis Carter and Glenda Farrell, you know that the wisecracks and double entendres will be coming fast and furious. Veteran Farrell seems to be emulating Lee Patrick from "The Maltese Falcon" as Tone's no nonsense secretary. Such great character actors as Eduardo Cianelli, John Ireland and Steven Geray add on interesting male characterizations, with Geray reminding me of all the other thick accented Europeans after World War II whose foreign persona instantly indicated something shady. In one of his earliest roles, Raymond Burr shows off his expertise at villainy, his specialty until TV cast him as a hero detective like Tone's character. <br/><br/>Tone, a veteran of a few classic thrillers of this nature, doesn't rival Bogart for the type of sly wisecracks he's given. While the Los Angeles locations of the 1940's offer a feeling of nostalgia (including a visit to the Santa Monica pier), the plot requires more of a road map than Tone's travels. This is the type of film to watch on the big screen (preferably as part of a film noir festival) so you don't have any distractions. If only the story wasn't so off the beat and path and the twist at the end so darned ordinary, this might have rated a bit higher. Still great fun for film noir buffs, though.
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