Blu-ray debut for John Farrow's delightful genre-mashing original, THE BIG CLOCK

Anyone who's never seen THE BIG CLOCK, the 1948 film that, while successful enough it is own time has since become what one might call a second-tier classic, should avail him/ herself of any opportunity. It's a keeper -- under just about every criteria. And just because you might have seen the so-so would-be remake from 1987 titled No Way Out, don't think you've even begun to  have discovered the genre-jumping/mashing charm of the original.

As directed by the under-rated journeyman filmmaker from Australia, John Farrow (shown right), with a screenplay by Jonathan Latimer (from the novel by Kenneth Fearing), the film begins with what TrustMovies thinks is an unnecessary prolog in which we learn that our hero is a man on the not-quite-run (only because he can't escape his surroundings).

Had the film simply begun at the beginning and moved along as it soon does, the audience might have imagined they were in for -- not the thriller it partially is -- but either a workplace satire or a comedy of manners, morals and art appreciation.

The Big Clock is all three of the above, as well as a lot more, too, mashing and jumping genres in a manner that would spin the heads of many of today's moviemakers. Plus, it offers a plot that has our hero (Ray Milland, above, right) forced by his evil boss to investigate himself for the very murder that boss has commited. (No spoilers here: most of the fun and multi-surprises come as that "investigation" occurs.)

As the hero, Milland proves his usual adept self at garnering our sympathy, even as he holds us back from fully embracing this somewhat flawed and slightly distanced man, while the great actor Charles Laughton (above) makes a magnificent meal out of the villain, a nasty media mogul named Earl Janoth. Watch the subtle (then not so) changes in Laughton's amazing face in the memorable murder scene for a lesson in fine film acting.

The supporting cast is full of familiar faces, with the wonderful Elsa Lanchester (above, left, and Laughton's real-life wife) a hoot-and-a-half as the artist whose work and bizarre personality figure heavily into the plot machinations. If everyone else were not so splendid, Ms Lanchester would have walked away with the movie. The unveiling of her portrait of the murder suspect is one of the film's highlights -- as is her final line.

A nice surprise, too, is the use of famed character actor Harry (Henry) Morgan, above, playing a masseuse/right-hand man you definitely would not want manhandling your vulnerable body. But then everyone here, including an uncredited Noel Neill as a smart and sassy elevator operator, is first-rate.

Director Farrow's handling of the plot and the melding of genres are also classy indeed. Note how swift and shocking is the murder scene, and how deft and fast-paced is the climax. These days, a filmmaker might drag out scenes like these well past their believability or entertainment quotient. Oh, and that titular clock is used well, too.

All in all as old movies go, this one's a don't miss. From Arrow Academy (distributed here in the USA via MVD Visual) and running just 96 minutes, The Big Clock hits Blu-ray (the transfer seems adequate but nothing to shout about) -- along with several worthwhile Bonus Features, including an appreciation of actor Laughton by Simon Callow, and a fine analysis of the film by Adrian Wootton -- this coming Tuesday, May 14, for purchase and I would hope rental, too.

Blu-ray debut for Robert Siodmak's deliciously entertaining film noir-lite, PHANTOM LADY

TrustMovies had imagined that he'd seen the famous 1944 film, PHANTOM LADY at some point along his movie-going life. But, no: this new Blu-ray of the film, released via Arrow Video/Arrow Academy last month, proved quite the eye-opening experience.  Prolific and under-rated director Robert Siodmak (below, of The 

Killers,  Criss Cross and The Spiral Staircase -- among a number of other first-class films) does a bang-up job of bringing to life the screenplay by Bernard C. Schoenfeld (his first), based on the novel by Cornell Woolrich.

The story's a whopper, all right, but it is told with such energy, spirit and twists/turns that it easily hold you throughout the crisp, 87-minute running time.

The film also stars one of my favorite leading ladies of the 40s, Ella Raines, shown above (which was why I was certain I must have seen it), in what is arguably her best role. Ms Raines plays the dogged and loyal secretary to a boss charged with the murder of his nasty wife, and she brings the same combo of sass and class that she showed off in other films of the day (see Impact, for one) and is consistently believable and charming.

Phantom Lady is full of typical noir tropes of the time (the fine cinematography is by Elwood Bredell), but I call it noir-lite due to how often amusing and energetic the movie is, along with the fact that it -- finally, at least -- offers a much more positive take on life and love than do so many other noirs.

Top-billed in the film is suave leading men of the period, Franchot Tone (above, right), in a role quite unlike almost all his others I recall. Mr. Tone doesn't even make an appearance unless around halfway through the mystery, but once he does, he definitely commands things.

The would-be hero is essayed by a looker named Alan Curtis (above and below, right), but his role is so circumscribed that only Ms Raines comes through as anything approaching the heroic.

The plot offers so much frisky fun and consistent incident -- a woman's hat (above, worn by Fay Helm in the title role; below, on Aurora Miranda in the part of a spicy/funny showgirl) proves perhaps the most important prop in the proceedings -- that the end result is what you'd call a lulu of a tale.

Supporting cast is aces, with special mention of Thomas Gomez, below, left, who plays the quiet, subdued and very caring and intelligent detective on the case. Once Gomez's character begins investigating in earnest, the movie grows even better: His marvelous "take" on the character of the murderer offers the kind of psychoanalysis that seems to me to be far ahead of most anything that Hollywood was dishing out at the time.

Also in the cast, and in a particularly strong performance is that unmissable character actor whose work graced so many movies, Elisha Cook, Jr., below). He's very good here -- sleazy and craven as hell -- and his single extended scene is a memorable one.

A model movie that's an unusual blending of light and dark, good and evil, and humor, romance and mayhem, Phantom Lady should be on everyone's list of films to catch up on. Or maybe see again, if it's been a few decades since you first did.

From Arrow Video/Arrow Academy and distributed via MVD Visual, the film hit Blu-ray in a nifty new transfer last month, and is available now for purchase and (I would hope) rental and/or streaming.