The Argyle Secrets

1948

Drama / Mystery / Romance

0
IMDb Rating 6.2 10 234

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Plot summary


Uploaded by: FREEMAN
May 27, 2022 at 07:54 PM

Director

Top cast

John Banner as Winter
Barbara Billingsley as Elizabeth Court
720p.WEB 1080p.WEB
641.28 MB
1280*934
English 2.0
NR
59.94 fps
1 hr 9 min
P/S ...
1.16 GB
1480*1080
English 2.0
NR
59.94 fps
1 hr 9 min
P/S ...

Movie Reviews

Reviewed by django-1 9 / 10

moody, quirky low-budget late 40's crime-noir

As I was boxing up some old films for an upcoming move, I stumbled across THE ARGYLE SECRETS, a film I must have watched a decade ago. I didn't remember anything about it and even thought it starred Tom Conway (!!), but I must have been thinking of another film. So THE ARGYLE SECRETS seemed new to me, and I was VERY impressed by it. Yes, there are some similarities with THE MALTESE FALCON, but many detective/crime films were influenced by that classic. I have not heard the radio play on which this film is based, but taken on its own, this is--like many of the releases from the fascinating "Film Classics" company, an outfit that specialized in very low-budget but quirky and atmospheric crime and detective and late noir films--a moody and distinctive film that is surprisingly good. William Gargan (close your eyes while he is speaking and see if you don't think that his speech rhythms are reminiscent of George Raft) is always an excellent hard-boiled leading man, and here he plays a journalist who is entrusted with some vague information about something called The Argyle Album, which supposedly contains all kinds of incriminating information about WWII traitors and collaborators and profiteers. He is framed for the death of the man who gave him the information, and thus he is being pursued by both police and international crooks. There are a number of hair-raising sequences where he is about to be caught or killed (one scene where he sneaks into an apartment where a policeman--an almost unrecognizable Robert Kellard-- and his mother live, and the cop has a newspaper with Gargan's face on the cover, but insists on looking at the sports section first, but is always ABOUT TO look at the front page) is very cleverly done, and there is a very creative hallucination montage after Gargan is beaten up by the bad guys. There's also an undercurrent of suggested brutality in the film that is disquieting. Gargan beats a woman who asks him to so that she will have bruises on her and thus she can claim he escaped after choking her; Gargan strong-arms a woman into submission; and there's a scene with an acetylene blow torch that is quite effective and would be considered a classic if it had appeared in , say, THE LADY FROM SHANGHAI. Writer-director Cyril Enfield was responsible for some excellent and creative mysteries in the late 40s and early 50s--THE SOUND OF FURY (aka TRY AND GET ME) is an amazing film with a strong liberal message, and THE LIMPING MAN is a wonderful mystery with a switch ending that has to be seen to be believed. Endfield is superb at creating a sense of dislocation, of disorder. A surprising credit for Assistant to the Producer is famous silent-film archivist and entrepreneur Raymond Rohauer. The film is produced by Sam X. Abarbanel, a writer and producer responsible for some of my favorite guilty pleasure such as the Spanish crime films THE NARCO MEN starring the late Tom Tryon, and THE SUMMERTIME KILLER with Chris Mitchum. Also, there are a number of juicy supporting performances--Ralph Byrd as the police inspector who isn't sure about Gargan and appears in the final scene of the film which is hilarious (and which I won't give away), and Jack Reitzen (who was in a LOT of grade-c crime films in the late 40s), doing a florid Southern accent and chewing the scenery. There are many distinctive little touches in this film--for instance, when Gargan is being interrogated by Ralph Byrd, we see a few shadows of men with hats hanging suspiciously outside the opaque windows of the office. When Gargan leaves the office and walks off screen, about five seconds later we see these shadows head in his direction. Maybe using shadows allowed the producer to use non-actors to play the roles and save money, but the effect works for whatever reason it may have been done. I will undoubtedly watch this film again soon and show it to some like-minded friends who appreciate low-budget, indie crime films of the post-World War II era. Check it out if you get a chance--it will be worth your time if you find the above description interesting.

Reviewed by blanche-2 7 / 10

a B from Universal

Stylish B starring William Gargan and two TV moms - Barbara Billingsley and Marjorie Lord, along with John Banner, and Ralph Byrd.

Similar to the Maltese Falcon, Gargan is Harry Mitchell, a newspaperman who is singled out among a bunch of newspapermen at the hospital to see an injured reporter. The reporter gives him an album cover for "The Argyle Album" but before he can say much more, he is dead, supposedly from a heart attack. Rip back the covers and there's a knife in his heart. Mitchell takes off.

The Argyle Album is an album with the names of people who profited from the war, traitors and people who made deals feathering their nests no matter who won.

Everyone is after it, including Lord and a gang of tough guys. Barbara Billingsley plays the dead reporter's secretary.

There were some neat things in this - spiral effects with swirls when Mitchell is knocked unconscious; and the cop who comes home, says goodbye to Mitchell, a former neighbor, and then opens the newspaper to his wanted photo on the front page.

Reminiscent of another fast talker, Lee Tracy, Gargan's voice box was removed in 1958 due to cancer, and from thereon he had an artificial voice box. While it stopped his career, he became an anti-cancer spokesperson for the American Cancer Association, living for another 21 years.

Reviewed by mgmax 6 / 10

Rare Maltese Falconish yarn

Very rare low-budget film from director Endfield (Zulu) plays like a not-bad student film version of The Maltese Falcon-- the supporting performances aren't always convincing but there are nice touches of visual imagination and good pacing.

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