In an era where entertainment gives the impression of becoming ever more bloated and unwieldy, where books seem to be sold by the page count and thus by weight like some indigestible stodge, where even movies which tell essentially pulp stories have running times that defy both logic and the endurance of the human body, it is a true joy to watch a film which is tight and trim enough to take care of business in just an hour and ten minutes. That ought to be a recommendation in itself yet Undertow (1949) has the added bonus of being a remarkably entertaining film noir, William Castle’s best effort in the genre/style in fact.
The war as a watershed – how many times has one come across that particular bromide? Yet its essential truth is undeniable. The image of the returning veteran, those men who dreamed of better days amid the waking nightmare of their years of service, is one familiar to the noir audience. Such men immediately draw sympathy by virtue of the sacrifices they made and this adds an edge to the dangers and depravities they confront on their return home. By 1949 the war was already slipping back into the misty corners of the past, the world was rushing ahead and wasn’t necessarily in any mood to slow down and wait for men trying to catch up with events that had bounded four years and more ahead of them. Tony Reagan (Scott Brady) is introduced as a classic postwar character. He’s a veteran with a vaguely shady past who has grown as a result of his experiences and is now focused on cementing a future for himself and the woman he hopes to make his wife. He has just bought a share in the hunting lodge business of a fallen comrade in arms, and is on his way to Chicago to propose to his fiancée Sally (Dorothy Hart). His last evening in Reno sees him briefly hooking up with a pal from his gambling past Danny Morgan (John Russell), as well as making the brief acquaintance of vacationing schoolteacher Ann McKnight (Peggy Dow). All of these people will cross his path when he lands in Chicago and also lands in deep trouble. The classic noir protagonist frequently finds himself skewered on the horns of a dilemma, trapped somewhere between the pull of his past and typically bad choices going forward. This certainly fits Tony Reagan, a man who was told by crime boss, and Sally’s uncle, Big Jim Lee to stay out of Chicago and away from his niece.
There’s to be no hero’s welcome for Reagan; on his arrival at the airport he’s met by cops who run him downtown for a bit of friendly advice from the precinct captain, namely that he shouldn’t waste any time unpacking. That he ignores this tip shouldn’t come as any surprise, nor should the fact that he is soon slugged, blindfolded and shot, all as a prelude to a frame that looks like fitting him very snugly. If the movie has a weakness it stems from the way it sets itself up as a kind of whodunit where there’s no great mystery with regard to the actual culprit. In this case certain character traits as well as the way a vital piece of information was only available to one person don’t so much point the finger at as turn the spotlight full force on one individual, and when you see who that is then the rest of it kind of falls into place. Still, none of that really matters as much of the pleasure derived from following Reagan on his nighttime odyssey through Chicago trying to keep a half a step ahead of the cops, calling in favors and only realizing the full extent of his peril at the last moment.
William Castle, like all studio era directors, worked in just about every genre but the bulk of his work fell into three categories: horror, crime and westerns. The horror movies have traditionally gained more attention from critics and fans alike, which arguably says as much for the enduring popularity of that genre as it does for the movies themselves. If I’m being honest, I don’t believe the quality of Castle’s films overall is commensurate with the level of attention they have received down the years. That may come across as somewhat curmudgeonly yet it’s not my intention to do so – I like Castle’s films for the most part and find the majority of them entertaining, just not necessarily always that good. Still, his better work does stand out and I’d have no hesitation in placing Undertow among those better pictures. At this stage in his career there was none of the gimmickry and clowning that would come to be seen as characteristic of the man. Instead, what we get is a compact and atmospheric piece of budget filmmaking that punches well above its weight.
Shakespeare had Caesar remark that Cassius had a lean and hungry look and was therefore dangerous. Perhaps John Russell ought to have been cast as Cassius then at some point in his career for he surely fitted that description. Even though he had heroic leading roles on TV in both Soldier of Fortune and then Lawman, his villainous parts on the big screen tend to be memorable and carry an edge of authenticity to them. He turned in a strong performance in De Toth’s Man in the Saddle and I watched him a while back in Hell Bound and was again impressed. The latter has that typical mean streak that can be found in Bel-Air movies and Russell managed to embody that successfully. Scott Brady was a suitable pick for the lead too, only a few years out of WWII service himself, he had the right combination of toughness and sympathy to be believable as someone with underworld connections but also with the nous to realize his future lay in a different direction. Bruce Bennett’s reassuring presence as the conflicted friend adds solidity to the supporting cast; his well played scenes with his boss and particularly the short interlude in the basement workroom of his home help to ground the story. The two female roles were filled by actresses who had very short screen careers. Peggy Dow appeared for a mere three years between 1949 and 1952 , while Dorothy Hart stretched it out a little longer, running from 1947 to 1952 in features and a couple more on TV. Both had a number of good movies to their credit with Dow possibly squeezing more memorable work in during her brief time as an actress.
Undertow acts as a noteworthy example of the kind of well crafted crime and noir movies Universal-International was capable of producing. It’s gratifying that so many of these are now accessible and can be viewed in good quality, something fans of the studio’s output could only dream of a few years ago. Already released in the US in one of Kino’s box sets, the movie is getting an individual release here in the UK ( Amazon link – As an Amazon Associate I earn from qualifying purchases) with plenty of supplementary features via Powerhouse/Indicator in January.
Riding the High Country 
I’m interested to check this one out. Castle’s horror stuff is much loved but actually quite pedestrian e.g. Compare The Tingler with the stuff Roger Corman got out of Vincent Price. Joe Dante’s Matinee is a superb affectionate comment on Castle and his methods
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Yes, Castle’s fame is largely built on the legacy of his horror movies and their associated gimmickry. I guess I like them well enough, some of them at least, but I too would take one of Corman’s movies or prime era Hammer over them any day.
His other genre pictures – mainly westerns and crime – frequently get overlooked in comparison, but a number of them are worthwhile. I think the crime/noir titles are more consistent, and this is one of the best of those.
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David, I think the best part of Joe Dante’s MATINEE(filmed 1992, released 1993) is John Goodman as the thinly disguised William Castle and Cathy Moriarty as the B-starlet. Also, Dick Miller and John Sayles are slicker than slick. The movie-within-a-movie MANT is a homage like no other with William Schallert. Kevin McCarthy, Robert Cornthwaite, and Cathy Moriarty.
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You had me at that beautifully written intro paragraph.
Really looking forward to viewing this crisp and compact noir done within budget and time constraints . . . but lacking nothing.
Should be interesting to see 24-year old “Roc” Hudson in this one as well.
Once again, Thank You for the heads up on another fine film.
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Thanks!
Hudson’s appearance is very fleeting, but he does get a bit of dialogue and it’s interesting to stars just at the point where they were starting out.
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I thought Undertow better than pretty good and Scott was terrific. He always was.
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I mostly like Brady too. I just wish some of his early movies, namely Port of New York and Canon City, were available to view in better condition.
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FYI Colin…….Port of New York has recently been made available to view online in 1080p HD. Although in much better condition, it still lacks a bit of sharpness. Very watchable.
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I see. I shall browse around for that. Realistically though, the movie needs a full restoration by the likes of the FNF.
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Colin, good write-up of what I think is a really good movie. Also, thank you for triggering my memory. I faintly recall viewing this move once on Memphis, Tennessee’s WHBQ Channel 13 DIALING FOR DOLLARS MOVIE in 1971. Your write-up caused me to see if there is a good print on YouTube and there is. I really enjoyed seeing this well-paced drama directed by William Castle. Scott Brady, John Russell, and Bruce Bennett together in a movie is definitely a plus. I always enjoy seeing well placed character performers in these movies, because they add so much. Here we have Marjorie Bennett, Thomas Browne Henry, Dan Ferniel, Smoki Whitfield, Almira Sessions, Hugh Sanders, Robert Easton, and Robert Anderson. Also, I got a kick out of the fleeting performance of “Roc” Hudson in his first appearance in his new contract with Universal-International Pictures.
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Not seen this one but will be getting the Indicator release 😁
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No doubt I’ll be picking it up myself at some point, but later when its price drops to a level I can afford. Much as I like the movie, I still think it could have slotted into one of the label’s box sets but, as I said before, I suspect the noir sets may not have sold as well as they would have liked.
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On the whole I agree with you about William Castle. His horror movies are at best serviceable. The two movies of his that I really do like are I Saw What You Did (a minor movie but genuinely quite clever and very enjoyable) and The Night Walker (offbeat but effective sci-fi horror).
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House on Haunted Hill is hugely enjoyable nonsense and I’m very fond of it. However, I too like both of those movies you refer to and the late career turns from Crawford and Stanwyck respectively. I know I enjoyed the Crawford movie more than I did her other, better known, film for Castle Strait-Jacket.
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Dee, I enjoy William Castle movies and I’ve a soft spot for I SAW WHAT YOU DID(filmed 1964, released 1965) and THE NIGHT WALKER (1964). I first viewed these two thrillers on the afternoon EARLY MOVIE on Memphis, Tennessee’s WREC Channel 3 in 1969 and 1970 respectively. I would get home from school and turn on the TV to see if there was a good movie to view while I ate a snack. I must say there was usually a good movie being shown. Thank you, Jack Michael, who was the program director for Channel 3 for 30 years.
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just caught up with Undertow on You Tube, thanks to your fine review. Thoroughly enjoyed it . Good cast. Nice Chicago locations.
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Glad you got to see it and enjoyed it too. I can easily see this film picking up more fans as it becomes more widely available.
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It’s baffling to me that “Undertow” seems to have benn largely ignored by the critics, even those who are fans of Noir. It has a strong script and the location work in Reno and Chicago is superb. I think John Russell turns in the best performance of his career. Dorothy Hart is pitch-perfect as the protagonist’s beautiful but suspect girlfriend. When she pulls up to Buckingham Fountain in her long luxury convertible, I said to my wife, “There’s no way this woman is going to live at a hunting lodge.” The tension runs high and I breathed a sigh of relief when Brady’s character is not only exonerated but finds true love with the woman (Peggy Dow) who obviously adores him. Hey, sometimes you can live happily ever after in the movies! A terrific movie!
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Well done, Frank. Agreed on all points.
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Frank, I can do no more than play a hunch on the reasons why this film was largely forgotten.
However, I wonder if it’s maybe down to a combination of getting lost among an extremely crowded field of crime/noir movies in 1949, and the fact that Castle’s later reputation as a horror specialist grew so large that it simply overshadowed most (all?) of his earlier work.
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Had a good laugh at your hunting lodge comment, Frank. That is some chariot she is driving!
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Hi, Colin – thanks to your review, I have watched the movie just now on YouTube. It’s a terrific 70 minutes and I love the tightness of the plot and the excellent location shooting. You’ve got me now thinking I need to check out some more of Castle’s movies.
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That’s great you had a good time with it. Aside from his very enjoyable series pictures for Columbia, I quite liked Johnny Stool Pigeon and I’m fond of New Orleans Uncensored – anything with Beverly Garland is always welcome.
Of his westerns, I guess Cave of Outlaws might be the best. Others may disagree on that though.
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Hello Colin, Gordon Gates here in calgary. Sorry I have been offline because I was in the hospital for more than a year. I wanted to start exchange post again.
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A number of people mentioned you before as you dropped suddenly off the radar. I hope you are ok, that’s a very long stay indeed.
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Very long, indeed. Good to read your name again, Gordon.
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Hello Colin,
Can you shoot me an email on my personal account please.
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Gordon, I was worried that you might be having health problems. I hope that you are better. Welcome back pardner.
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Gordon, I sent an email to you five days ago, but I suppose it didn’t get through. Have you a different email address? If it’s okay with you, can Colin send me your current email address?
I hope you are doing a lot better. That was a long hospital stay, to say the least, you can get sick in hospitals, also. I was in the emergency room recently myself and there was a foul up, but I’m pretty hardy and survived.
Take care and have better health.
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Gordon, wonderful to hear from you,and I hope your health is on the mend. I have missed very much your film tips of what you have been watching,always enjoy those so much.
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FAVORITE CASTLE STORY……………
Buring the making of THE TINGLER
Darryl Hickman: Who’s going to believe me as a pathologist?
Castle: Nobody
Hickman: Then why am I here
Castle: For the kids.
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Colin-thanks for a great review of an overlooked Noir.
The fact that Castle laboured on Columbia’s B Unit (Whistler,Crime Doctor,Boston Blackie & so on) and later worked extensively for Sam Katzman proved that (a) he knew what he was doing, and (b) did it very quickly.
Generally,I feel Castle’s best films,are in black & white, although I agree that CAVE OF THE OUTLAWS was his best Western.
I also agree UNDERTOW is Castle’s best Noir and he certainly had a flair for them as proven by his Monogram quickie WHEN STRANGERS MARRY and the much later THE HOUSTON STORY far and away the finest of his Katzman pictures.
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Gentle reader please forgive sexist, “Colloquial” langusge in the following comment……
Circa 1961, as a 15 year old I ventured out to the Essoldo Cinema Burnt Oak,London to watch the sensational double bill of NIGHT OF THE DEMON/THE TINGLER.
The Essoldo was a 2,000 plus seater and the police monitored the very long queue consisting of mostly leather jacketed rockers (yobs) and their “birds” (girlfriends)
During THE TINGLER the “birds” made so much noise screaming it certainly added to the atmosphere, you would think all of their seats were “wired” although a Sunday one day only performance I doubt ,would have warrented Castles infamous gimmick.
By the time NIGHT OF THE DEMON was shown all the “birds” were well & truly all screamed out, so I was able to enjoy that in relative peace.
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John K, I really enjoyed your reminiscing right down to the bone regarding Yobs, Birds, and all.
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Testing………………
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Walter, st least you got my warped humour I guess I’m in Colin’s Sin Bin (:
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Certainly not, John. I’m just really busy these days and haven’t been engaging with any activity on the site much as a result.
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Sorry, I also meant to say that I received that Audie Murphy double direct from ViaVision the other day. While I’ve only had a chance to take a brief look at it, I can say that both movies look really good and colorful. Thanks again for flagging that one up.
Highly recommended – Amazon link As an Amazon Associate I earn from qualifying purchases.
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I don’t know how much interest there is in this, but I’ve just noticed that Amazon have a listing up for an upcoming Blu-ray release of Strongroom via the BFI. – As an Amazon Associate I earn from qualifying purchases.
It’s an excellent, low budget suspense effort from Vernon Sewell and well worth viewing. I wrote a bit about it almost a decade ago here.
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Colin,
I hope you enjoy the Murphy double bill as much as I did.
I will be very interested to see what the extras are on Strongroom an odd title for the BFI but welcome nonetheless.
The fact that Edgar Wright likes it means zero to me, I tried to watch LAST NIGHT IN SOHO on TV the other night abysmal garbage I don’t know how these no talents get big Hollywood Blockbuster gigs I saw his name pop up somewhere on some new mega million Franchise movie somewhere.
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Wright’s films don’t particularly appeal to me – I don’t think I’ve seen more than bits and pieces of any of his work. That said, I’ve no doubt endorsements from celebrity filmmakers or those with a strong fan base help to draw in new viewers/customers.
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Sadly, how very true.
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Came across a Noir I’ve never heard of ‘though I guess many of you have, I tried to post the link but it failed, anyway it’s up on youtube Stream Core in beautiful condition
ANGELS OVER BROADWAY (1940) co directed by Ben Hecht and Lee Garmes, it’s to me solid Noir although some folks call it a dark comedy or drama, to each his own.
At any rate if you like tales of grifters, losers,no hopers looking for the next easy buck and the fact that one of the characters is called Hopper tells all really. If you also love Noirs where it rains all the time…look no further.
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John, I saw that movie myself for the first time about 18 months ago. I posted a brief comment on it elsewhere at the time. It ran as follows:
Something of a curiosity, one of only two movies directed by The Front Page writer Ben Hecht, although cinematographer Lee Garmes is credited as co-director. The story revolves around an embezzler contemplating suicide and the efforts of the unusual trio of Thomas Mitchell, Rita Hayworth and Douglas Fairbanks Jr to swindle enough money from the mob to save him. There’s a smattering of expressionism, the mood of a proto-noir and even a hint of Damon Runyon threaded through it all – it’s not entirely successful but it does hit the spot in places. John Qualen had a face made for hangdog cunning and Thomas Mitchell could channel alcoholic grandeur with his eyes closed, while Fairbanks’ shopworn rogue who gets thrown a redemptive lifeline by a hopeful Hayworth is a nicely judged piece of work.
So, a middling effort all told but I’m now curious to see Hecht’s other feature as director, Specter of the Rose.
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I forgot to add Pure Poetry, what a wonderful Wordsmith you are.
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Middling is the right word, but the cast and concept matter. Worth seeing even if it fail to resonate.
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A very good review, Colin I feel I enjoyed the film far more than you.
Considering the large credit Garmes gets I feel his contribution was considerable, especially as he was also DOP.
I think John Sherwood received a similar credit on RIDE THE PINK HORSE i.e not in small print,if that makes sense.
Also the film is a very good showcase for criminally underused (Columbia B’s & B Series Westerns) Aussie actress Constance Worth. Constance also shines in a couple of Poverty Row B Noirs SENSATION HUNTERS and WHY GIRLS LEAVE HOME, she certainly deserved a better career.
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Constance Worth can also briefly be seen in a pivotal bit role in the aforementioned ANGELS OVER BROADWAY.
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Yes, she played Thomas Mitchell’s ex wife, and very good she was too.
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John K,
Re: The final appearance with Thomas Mitchell telephoning his ex wife, what may appear to be having a one way conversation asking her if he could come home and be with her. Was it for real or was he being delusional? What do you think.
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The audience has a choice here, but for me it was a one way conversation, and yes he was being delusional.
Others may see this beautifully acted scene from a different perspective.
For me Constance Worth was far too crabby, and happy with her gigolo boyfriend to even consider her alcoholic faded ex.
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Colin,
I would just like to apologise for my comments regarding Edgar Wright, to call him a “no talent” was uncalled for.and rude, I had had a sleepless night through occasional insomnia, and had just gone through the nightmare of cancelling a mobile phone contract online.
I thought Last Night In Soho started off very well indeed but after an hour,for me fell apart, however seeing veterans Tushingham & Stamp was truly a pleasure.
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Any RTHC readers within easy reaching distance of London on January 19th are in for a rare treat.
BEND OF THE RIVER is showing on the big sceen at the lovely Regent Street Cinema.
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I’m rather envious of anyone who gets to attend. It’s a lovely looking film of course and ought to be just terrific on the big screen. Maybe I’m confusing this with something else, but I thought I read recently about the movie getting an upgraded Blu-ray (4K?) release.
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Colin-above is a link to BLOOD ORANGE which we discussed.
If the above link does not work it’s listed on youtube as Three Steps To Murder
At any rate it’s in very nice HD
Just search Tom Conway Three Steps To Murder Youtube
I think you will be impressed
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John, thanks for pointing out that the movie is available for viewing. I hope to check it out as soon as I get a chance – just ridiculously busy with one thing and another these days.
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Correction on the above 3 STEPS TO MURDER
I don’t know how happy Hammer will be when they discover an HD version online of a film that they have just released.
As I have said before I DO wish that they would release basic low cost versions of these films minus the extras and extensive packaging.
I note that they have announced the truly excellent STOLEN FACE a minor masterpiece if ever there was one.
I’m going to have to bite the bullet when CLOUDBURST is released, a film I dearly love and plus the fact it will include both versions. Hammer Fans sure have plenty of cash to splash.
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It’s almost inevitable for just about every release to turn up on one online platform or another these days.
Much as I welcome Hammer’s release of their lesser known titles, the pricing of these premium editions, as well as what I consider the unnecessary packaging, not to mention multiple versions of films in various aspect ratios, means I have to play a waiting game.
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Sadly, I’m too old to play the waiting game.
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John, when you stated “Correction on the above 3 STEPS TO MURDER”, I expected you were going to correct from STEPS to STOPS.
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As far as I know CLOUDBURST will have two versions the UK & USA in the previously unreleased UK version there is an early scene where Stanley Baker plays a milkman. It’s probably one of those blink & you miss him things he was doing for Hammer at that time before his star rose. I doubt if there will be much difference between the two versions but nice to see anyway. No ratio variations there.
I’m also very keen to see some of the Hammer CinemaScope half hour shorts, especially MAN ON THE BEACH directed by Joseph Losey, Hammer have informed me that all these films still exist. I note some of these Hammer de luxe releases have already sold out so if people keep buying ’em………………
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