Jane Greer

  • Desperate Search (1952)

    (On Cable TV, May 2021) As someone with a specific interest in Hollywood movies set in Canada, I couldn’t pass up Desperate Search, especially as the log-line promised an expedition to rescue two kids lost in the wilds of the Canadian Rockies after a plane crash. Years of experience watching Classic Hollywood movies had taught me to keep my expectations in check regarding authentic on-location footage, and I was right: a look at the film’s projection history shows that the film was entirely shot on Hollywood back-lot sets, with a good chunk of stock footage and dialogue suggesting where the film was taking place. This approach was consistent with the drive within MGM at the time to produce straightforward low-budget films to supplement their typically high-gloss productions. The result, at least in Desperate Search, is a trim 71 minutes of uncomplicated thrills, featuring familiar narrative strands and unsurprising characters working their way through a few thrills of which the best is a hungry cougar. The kid actors portraying peril are not that annoying, while Howard Keel, Jane Greer and Patricia Medina make up for the adult triangle at the heart of the rescue. It’s not a movie particularly worth remembering: at best, it delivers what it sets out to do. But it does make for a telling addition to “see how Hollywood dealt with Canada” in a modern adaptation of a typical Northern story.

  • They Won’t Believe Me (1947)

    They Won’t Believe Me (1947)

    (On Cable TV, May 2021) There’s a fascinating backstory to the way They Won’t Believe Me will be seen from 2021 onward — originally released in 1947, the film made it to theatres missing fifteen minutes of crucial material, and that’s the version that was in circulation for more than sixty years before it was restored to its pristine state with missing footage added in 2021. What’s more remarkable is that the film is actually pretty good — cleverly playing and the strengths of film noir, it shows a tale of romance gone wrong, of passionate crime and tragic ironies. Our protagonist tries to juggle a not-so-nice wife and a far-more-pleasant girlfriend, but just as he seems to be making headway with his life, tragedy strikes and motivates a far less noble crime to get everything he ever wanted, all the way to the courtroom framing device. Robert Young does well as an increasingly evil protagonist, even if viewers may be more compelled by Susan Hayward and Jane Greer in strong supporting roles. It’s an easy, fun watch and while the added material is not always essential, it does flesh out the story in interesting ways. At 95 minutes, has a strong propulsive forward rhythm, and makes for a perfectly satisfying bit of second-tier noir. It’s films like They Won’t Believe Me that make a strong case for film restoration, unearthing hidden gems and polishing them until they remain shiny even for twenty-first century audiences.