Daredevils of the Red Circle (1939)
Film review #442
Directors: William Witney, John English
SYNOPSIS: Three daredevils are performing their regular circus act when sabotage leads to a huge fire breaking out, and the death of the young brother of one of the performers leads to them wanting to seek revenge. They learn that a former prisoner is responsible, and is attempting to destroy the properties of Granville, the man which put him away. The daredevils team up with Granville, but little do they know that the Granville they are working with is actually prisoner “39013″, who has assumed Granville’s identity and kept the real one locked up in his basement as a means to exact his revenge. The daredevils must work together to stop 39013 and unravel the mystery, aided by a mysterious ally known as the “Red circle,” who communicates with them only through notes in order to alert them of 39013′s plans and to keep their identity a secret…
THOUGHTS/ANALYSIS: Daredevils of the Red Circle is a 1939 serial film comprised of twelve chapters. The serial opens up with the daredevils Gene, Tiny and Burt performing their show at a circus owned by millionaire philanthropist Horace Granville. Meanwhile, ex-prisoner and former business partner of Granville Harry Crowel, who now goes by his prisoner number “39013″ (pronounced thirty-nine oh thirteen), plans to get revenge on Granville, who put him in prison. 39013 sabotages the next show of the daredevils, causing the circus to go up in flames and killing Gene’s kid brother. They decide to get revenge by teaming up with Granville to stop 39013, but little do they know the Granville they are working with is actually 39013 himself, disguising himself as Granville, who is actually locked in the basement, and ruining his life from within. The rest of the serial comprises of the Daredevil’s attempts to foil 39013′s various schemes, while being aided by notes left for them by the mysterious “Red Circle.” The story and format are all very familiar to serial goers, with the opening chapter actually showing off the unique aspects of the characters doing their daredevil tricks and stunts, and then in subsequent chapters hardly ever being seen again, with the aim of the expensively produced first chapter being used to draw viewers in and convince them to come back to the theatre week after week to watch subsequent ones. The death of Gene’s young brother Sammy is an unusually dark premise to open on, as the kid character is a staple of many serials that younger viewers may relate to, rather than them being killed off in the first ten minutes. The rest of the serial is a very familiar story though, with each chapter introducing a new plot to destroy another of Granville’s industries or properties, and the daredevil’s attempting to stop the. There’s some decent variety and action sequences, but nothing too memorable amongst the huge amount of times they have been done across the format.
The characters are the usual suspects in this serial, with the three daredevils being the usual young, athletic, ideal Americans who can pull off all the necessary stunts and fistfights that the story demands. They are all defined as having a speciality in particular aspects of daredevilry, but we never see those particular talents define their character beyond the first chapter, and they all feel very similar to one another. Blanche as the granddaughter of Granville plays the typical token female character and as usual has very little to do for the majority of the serial. 39013 is a fairly typical villain, but at least he has a clear motive and purpose. He is played by Charles Middleton, who most famously was the villain Ming the Merciless in the Flash Gordon serials, and later the villain in the Jack Armstrong serial. The man certainly knows how to play a villain. The rest of the characters don’t leave much of an impression, apart from the dog Tuffie, who is obviously well trained. The one seriously problematic character is that of “Snowflake,” a black man who serves as a “servant” in the Granville household. Like nearly every black person in cinema at this time, they are portrayed as simple-minded and clumsy, alongside being the butt of every joke. Obviously this is an extremely racist and problematic representation that films created and perpetuated during this time, and badly dates the serial.
The serial makes use of some decent settings and set-ups for it’s end-of-chapter cliffhangers, such as chapter two’s flooding tunnel in which one of the daredevils has to escape on a motorbike. The effects aren’t convincing by today’s standards, but are decent for the time. The plot ramps up at the end of the tenth chapter, where 39013 is unmasked and flees while the real Granville is rescued, and this makes a change to everything usually being resolved in the last five minutes in other serials. However, it throws away that excitement by using chapter eleven as a “recap” chapter consisting mostly of clips from the previous chapters, which really stops the excitement in its tracks. Overall, Daredevils of the Red Circle has some decent moments and a fair amount of excitement, but a number of problems make it feel very dated and not really worth returning to.
Mysterious Doctor Satan (1940)
Film review #430
Directors: William Witney, John English
SYNOPSIS: A man calling himself Doctor Satan has kidnapped Professor Scott in order to get his hands on a remote control cell that will allow him to build a deadly robot army. Bob Wayne, whose guardian Governor Bronson is killed by Doctor Satan, vows to take revenge against him by disguising himself as the Copperhead, the masked identity that his Father used. Aided by Scott’s daughter Lois, secretary Alice Brent, and journalist friend Speed Martin, Wayne seeks to rescue Professor Scott before Doctor Satan can build his deadly robot army…
THOUGHTS/ANALYSIS: Mysterious Doctor Satan is a 1940 movie serial by Republic Pictures. The serial starts out introducing Bob Wayne, whose guardian Governor Bronson reveals to him that his Father was the masked vigilante known as Copperhead (so named because he wore a mask made of copper, surprisingly). Bronson gives him the Copperhead mask, and shortly after Wayne leaves, is killed by Doctor Satan, a scientist who wants to build an army of killer robots. Vowing revenge, Wayne becomes the Copperhead himself to track down Doctor Satan and thwart his evil schemes. The plot is fairly unremarkable as far as serials go: it’s a back-and-forth between the heroes and villains as Doctor Satan’s various plans are foiled across the fifteen chapters. Despite the story being mostly forgettable, it is fairly well-structured, and there’s some suspense and thrill in the action sequences and cliffhangers.
Apparently, this was planned to be the first Superman serial, but their was some trouble acquiring the rights. There’s not much left in the final product to suggest that though, apart from maybe Lois Scott, the daughter of Professor Scott who has been kidnapped by Doctor Satan, might have been Lois Lane, but that’s about it. These serials had a really quick turn-around, so it would have been easy to re-write the story without slowing down production. The masked vigilante of Copperhead is fairly standard for the masked vigilante’s that star in many of the serials of the era. he is a bit boring though, as it’s just a loose copper mask that barely hides his face, yet no one can figure out his identity. There are multiple instances where Copperhead is captured, but noone bothers to just pull the mask off before flinging him into a deadly trap. The rest of the characters are pretty forgettable; the serial has two female characters instead of the usual one, but they mostly play the same roles that women usually do in the serials of this era (i.e being captured or performing secretarial roles). Doctor Satan is also unremarkable in appearance or unique attributes (and his name is probably a bit obvious), and just fits into the role of evil scientist without any quirks. His robot is something a bit more unique, but it looks similar to other robots of the era, mainly being a clunky block of metal that is quite laughable looking back at it.
The production values of the serial are again fairly standard, with enough chases, stunts and explosions to get the job done. The camerawork is pretty good, and offers some more unconventional and dynamic angles to help charge scenes with a bit more energy. Overall though, Mysterious Doctor Satan is simply forgettable, and while not necessarily a badly put together serial, it’s dull story will fail to spark any imagination in its viewers.
Dick Tracy vs. Crime, Inc. (1941)
Film review #386
Directors: William Witney, John English
SYNOPSIS: Dick Tracy is assigned to deal with a criminal known only as “The Ghost”, who is able to turn himself invisible thanks to a special invention. The Ghost is after the members of a city crime council, who helped convict his brother Rackets Regan and sentenced him to death. It is a race against time for Tracy to stop The Ghost before he succeeds in killing all the remaining members of the council…
THOUGHTS/ANALYSIS: Dick Tracy vs. Crime, Inc. is a 1941 movie serial and the fourth Dick Tracy serial to be released in as many years. This time, Dick Tracy is on the trail of a master criminal who calls himself “The Ghost,” who also has the power to turn himself invisible thanks to a special machine. The Ghost is seeking to take revenge on the city crime council, who helped convict his brother Rackets Regan to death, and in the opening chapter, we see him take out one of the council members, and his daughter June Chandler, teams up with Tracy in order to stop The Ghost. The story combines two typical tropes of the movie serial format: one, an invisibility device which many serials have done, and two, the identity of the main villain is hidden behind a mask until they are exposed in the final chapter. As always, there’s nothing too unique about the way the serial uses these plot points, but again this Dick Tracy serial manages to use them better than its contemporaries, and create a well balanced serial with plenty of action and intrigue. The added sci-fi element makes it feel a little different from the previous Tracy serials too, which is what is needed in this fourth instalment. There is a fair amount of re-using stock footage from the previous serials for the cliffhangers at the end of each chapter, but honestly it doesn’t feel like that much of a problem, as you know they will always end up with Dick Tracy escaping just in time.
As the serial progresses, there is a range of villainous schemes that Tracy and his friends have to foil, as well as the mystery of The Ghost’s identity with adds an element of mystery to everything. There’s always plenty going on, and the dialogue never gets too dragged down in exposition. For this serial, Dick Tracy is the only returning character, although Billy Carr and June Chandler play the roles of Steve Lockwood, a fellow agent, and Gwen Andrews, Tracy’s secretary in an almost identical capacity. Ralph Byrd as Dick Tracy has always been the star of the serials, and as long as he returns, the rest of the cast are pretty inconsequential. The identity of The Ghost is kept secret throughout the serial, with suspicion falling upon various members of the council at different points, then shifted away as they are killed. Everything is tightly-knit together, and even though it does cut down the cast and re-use some footage, I think it may be the best serial out of them all: it perfects what it is trying to do, and even though it uses plot devices that have been seen in the serial format before, it does them a lot better. If you were going to only see one Dick Tracy serial, I would probably say to choose this one, as it exemplifies not only the best of Dick Tracy, but some of the best examples of the serial format.
Dick Tracy’s G-Men (1939)
Film review #384
Directors: William Witney, John English
SYNOPSIS: F.B.I. agent Dick Tracy has successfully captured the international spy Zarnoff, who has been sentenced to death. However, he manages to escape, and picks up where he left off attempting to steal or sabotage military equipment to sell to the ‘three powers’, as Dick Tracy once again tries to stop him.
THOUGHTS/ANALYSIS: Dick Tracy’s G-Men is a 1939 film serial and the third Dick Tracy serial. In the opening, we see a film showing how F.B.I. agent Dick Tracy successfully captured foreign spy Zarnoff, who has now been sentenced to death by gas chamber. While in jail awaiting his sentence however, Zarnoff is sent a newspaper which is laced with a substance which when ingested, causes him to appear dead and stop breathing before he is taken to the gas chamber. While his body is being transferred, members of Zarnoff’s gang hijack the ambulance and steal his body, subsequently reviving him since the substance caused him to stop breathing before he went into the gas chamber, therefore did not breathe in any of the lethal gas (yes, it sounds a bit farfetched). When Dick Tracy learns of Zarnoff’s escape, he again attempts to catch up with him, as Zarnoff has sworn revenge against Tracy. The story, split into fifteen chapters, revolves around (as you would expect) Tracy attempting to foil the numerous schemes of Zarnoff, which, as is a staple of the Dick Tracy serials, outperforms others in the genre by having plenty of variety and imagination, splitting the time between investigation and action scenes. It still sticks rigidly to the serial format, and is essentially more of the same, but its predecessors were popular, so there isn’t really much need to drastically change them. The story around the spy Zarnoff attempting to sell American secrets to the “three powers” would have been more relevant to the time it was released, as World War II had essentially begun, so the theme of spies and espionage would have been particularly poignant, with the “three powers” clearly being a reference to the axis powers.
One more significant change in Dick Tracy’s G-Men was the thinning out of the cast. A number of the characters do not return, including Mike McGurk and Junior, who mostly provided the comic relief, and so the film does feel a bit more serious, again with the back drop of a world war looming. In fact, Ralph Byrd, who plays Dick Tracy, is the only returning actor. Even though the characters Steve Lockwood, a fellow F.B.I. agent, and Gwen Andrews, Tracy’s assistant still show up, they are played by different actors. The character Zarnoff is of particular interest, as he looks like a cross between Stalin and some east-Asian influences, which makes sense given the time of release, and America’s animosity to that area of the world (there were many serials produced around the second World war that utilised a villain that was made to look Chinese or east-Asian).
The pacing of the film is fairly standard, with a new scheme showing up every two or three chapters to keep things interesting, and the standard cliffhanger at the end of each chapter to entice viewers to return to the theatre next week to the next chapter. The ending sees Zarnoff and Tracy crash a plane in the desert, with the two handcuffed together, they are desperate to find water when eventually finding some, Zarnoff knocks Tracy out and uncuffs itself. When Lockwood shows up and finds Tracy, they see that the water contains Arsenic, and shortly find Zarnoff’s body (offscreen) as he has died from ingesting the water. Not exactly a thrilling conclusion, but they never are after investing so much time into these serials they never end on much of a high note. Nevertheless, Dick Tracy’s G-Men is more of the same, but it still maintains a position well above most of the format in terms of action, pacing and characters.
Dick Tracy Returns (1938)
Film review #384
Directors: William Witney, John English
SYNOPSIS: F.B.I. G-man Dick Tracy is on the trail of the Stark family: A criminal gang consisting of “Pa Stark” and his five sons. When new G-man recruit Ron Merton is murdered by the Starks when they hijack a convoy, Tracy swears revenge and attempts to track them down while thwarting their many villainous schemes.
THOUGHTS/ANALYSIS: Dick Tracy Returns is a 1938 film serial and the sequel to the Dick Tracy serial released a year earlier. The story this time revolves around Dick Tracy trying to thwart the criminal enterprises of the Stark family criminal gang, led by Papa Stark and his five sons Champ, Trigger, Dude, Kid and Slasher (great names). The Starks have a range of schemes and crimes they try to carry out, and this gives the serial enough variety to see it through, as Tracy and his team have to stop them across land, sea and air, resulting in an array of chases, as well as some good old-fashioned detective work. The original Dick Tracy serial was a strong mix of serial elements that kept its momentum across its fifteen chapters. Dick Tracy Returns emulates that success and continues it. There’s not much new here, but since the original was a success, there isn’t any need to fix what is not broken. And of course, in an era without repeats on television or home media, it was easier to repeat things on screen as the only way to watch these serials was to go to the theatre every week for the next instalment.
Most of the protagonists from the first serial return with the same actors, which provides a good sense of continuity. The only real change is that a different actor plays Junior, but that’s not much of a distraction. There’s not much character development, but every character has a role to play, from the heroic Dick Tracy and Steve Lockwood, the humour from Mike McGurk, and Tracy’s assistant Gwen, there’s a decent amount of variety in the characters. The villains are also fairly interesting, and showing Tracy stop the individual sons of papa Stark makes the story flow a little easier. Like the first serial, Dick Tracy Returns is a good example of the movie serial format, and has plenty of action, distinguishable characters and thrilling cliffhangers to keep viewers coming back. It’s mostly par for the course for the serial format, but a good example of it.