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  • sol121822 November 2007
    Warning: Spoilers
    **SPOILERS** Having elderly music store owner Edward Stillwell, Paul E. Burns, show up at what you would expect to be, from watching Sam Spade & Philip Marlow like 1940's private eye flicks, his rundown and barley lit office in what looks like swanky Sutton Place, check out the 59th Street Bridge outside the office window, private investigator Don Gale, Richard Dix, is anything but interested in taking up his case.

    Stillwell is willing to pay Gale all his life saving, $100.00, to track down and find 21 year-old Elora Lund, Pamela Blake, whom he hasn't seen or heard from for almost seven years. It's when Stillwell tells the very uninterested Gale that Miss. Lund is to inherit a large amount of money that her widowed mother, who had just passed away, left with him that Gale suddenly got interested in the case knowing that he'll, if he finds Miss. Lund, get a piece of it.

    The movie "Mysterious Intruder" is a lot like the "Maltese Falcon" with an unscrupulous private eye, like Sam Spade in the latter, breaking every rule in the book trying to get his hands on, instead of the legendary "Black Bird", a set of 1887 wax recordings cylinders of Swedish Nightingale Jenny Lind worth over $200,000.00. Gale is in fact a lot more unscrupulous then Sam Spade ever was by using people to trick poor old Mr. Stillwell into getting hold of the wax recordings without even giving them to their rightful owner Elora Lund!

    Gale using one, of many, of his lady friends hot blond Freda Hanson, Helen Mowery, to impersonate Miss. Lund to get a hold of the wax treasures has old man Stillwell murdered by the gorilla-like Harry Pontos (Mike Mazurki), who somehow got wind of what was going on, who ends up taking Freda hostage together with a package in Stillwell's store addressed to Elora Lund. When Gale get's to Stillwell's store finding him murdered and Freda missing has the news get out, via the police, that she's not really Miss. Lund. Pontos hearing this on his car radio, together with him finding nothing of value in the package that he stole from Stillwell's music store, lets Freda go as he heads home to his rooming house for a good nights sleep; it turned out to be the last good nights,or days, sleep that the big lug would ever have.

    Gale gets it from both sides in the movie, the police and those who work for him, with him getting the royal screwing from non other then Freda herself who's ***SPOILER ALERT*** working behind his back to get the wax cylinders off his hands and keep the $200,00.00 for both herself and her secret crime partner. Freda is later murdered by her unknown and unseen partner in a classic double-cross with the now clueless Gale being the number one suspect in her death.

    It's only later that Gale finally gets to the bottom of what's behind all this death and destruction but by then it's a bit to late for him to do anything about it. With him wanted by the police in Freda's, and possibly Mr. Stillwell's, murder Gale goes incognito, as a mummy-like looking bandaged crippled man, to the late Mr. Stillwell's music store knowing that the real killer, or killers, of Freda are there rummaging through the place trying to find the valuable wax recordings.

    The ending by far is the best part of the film "Mysterous Intruder" with everyone getting exactly what's coming to them including the on the lamb and under the covers, or bandages, Don Gale. One of the best of the Richard Dix "The Whistler" series of films and at the same time one of most complicated. Still "Mysterious Intruder" is more then worth watching a second time just to see the clues and subplots that you may have missed the first time around.
  • Here's another fine entry in Columbia's noirish Whistler series, the fifth chronologically, and fourth directed by soon-to-be schlockmeister William Castle. Like the first in the series, Castle imbues the film with an especially sleazy atmosphere. The shadowy b&w photography, threatening background detail and desperate lowlife characters evince a cynical view of the urban world, and the writers obliquely hint at sordid relationships and motivations which simmer below the surface of the story. Series lead actor Richard Dix, normally emotively challenged, gives a rather eccentric interpretation of a venal, socially inept gumshoe seeking a big score, who is ironically given the opportunity for redemption. Buffs will certainly savor the parade of iconic supporting actors like Mike Mazurki and Charles Lane. Much better than one would expect from a mystery series, this picture reflects the seamy side of life usually glossed over by the Hollywood veneer.
  • The improbable plot for this entry in "The Whistler" series has something to do with valuable cylindrical disc recordings of Swedish nightingale Jenny Lind, a double-crossed antique dealer, a femme fatale blonde who knows the recordings are worth $200,000, and some crooked thieves. RICHARD DIX is the gumshoe detective in the mold of Philip Marlowe, but his dialog isn't quite as sharp.

    Dix, of course, has to play fast and loose with the police on his trail and there are enough plot twists to keep any mystery fan mystified. Another factor in the plot is the femme fatale posing as someone else while scheming to get the money. As you can see, for a film that only runs one hour there's enough to keep you busy watching for the next development.

    The supporting cast includes BARTON MacLANE, PAMELA BLAKE, CHARLES LANE, REGIS TOOMEY and MIKE MAZURKI.

    Crisply written and directed, it's a good series entry.
  • The 1940's were full of private eyes from Sam Spade to Phillip Marlowe. None, however, equals the sheer sleaze of key-hole peeper Don Gale. He's a distinctive creation of writer Eric Taylor's clever little screenplay, with more twists and turns than one of those old Toni home permanents. The brief opening between Gale and his secretary tells all we need to know about his brand of professional ethics and is a great bit of subtle innuendo. Richard Dix is perfect as Gale with all the phony charm and shifty eyes of an oily medicine man. If Gale has any redeeming qualities like Spade or Marlowe, I can't find them, making him one of the most unusual lead characters of the day.

    The movie starts off posing a neat little mystery-- why would anyone want to kill for some worthless old keepsakes. The solution is a novel one, although the story sometimes unfolds in a complex fashion that's hard to follow.There're some nifty little touches, such as the trigger-happy neighbor who apparently shoots at anything that moves or the safe-house matron who looks like she could go a few rounds with Mike Tyson. However, not everything is roses. Little old man Stillwell should carry a sugar-overload warning, while plug-ugly Mike Mazurki mugs it up shamelessly as the towering menace. The bare-bones street scenes might blemish most movies, but here they come across as just plain cheap like Gale himself.

    How surprising that the schlockmeister of 1950's gimmick movies, William Castle, stands as the moving force behind many of these little Whistler gems. He had a real feel for them. Too bad he's identified now with such exploitation flicks as The Tingler (1959) and 13 Ghosts (1960), (Tingler wired certain certain theatre seats for a mild jolt and then insured the patrons! ). Anyway, the ending here is particularly ironical, even for a series that prided itself on irony. As they say, they just don't make 'em like this any more. Too bad.
  • William Castle the director of many low B budget films made this into another great Whistler series starring Richard Dix as Don Gale, a rather shady private detective who had a nice brunette secretary named Joan Hill, (Nina Vale) who assisted him with all his clients and especially a little old man. This little old man wanted to locate a young girl named Lund in order to tell her that she was worth lots of money and he wanted Don Gale to try and local this young girl from his past. Don Gale has other ideas and decides to find a girl to impersonate this young girl in order to find out just how much of a fortune she is worth and what it just might be. Several people get murdered and this dark tale takes you down many blind alley's with all kinds of ugly and evil men and woman. Enjoy, it is a good mystery, and Richard Dix had a certain charm that made his acting so suspenseful.
  • Warning: Spoilers
    On December 2, 1889 Thomas Edison made some wax cylinders of Johannes Brahms personally playing his compositions on the piano. These went underground somewhere for 48 years until resurfacing, and were given to the Berlin State Library in 1937. They miraculously survived WWII, resurfaced again and still exist in Germany. In recent years modern state of the art digital methods have produced recordings derived from the original cylinders. Edison and others made recordings of extremely famous 19th century individuals, cylinders that either have been discovered or are waiting to be found. So the basic premise of "Mysterious Intruder" is feasible and broadly based on historical fact: the existence of such cylinders.

    Richard Dix does a good job in "Mysterious Intruder" as a sleazy private eye out to grab some lost cylinders of a famous singer from the 1880's. It is a tight script and well made, released by Columbia Pictures in 1946. It moves briskly and is filmed with stark noir-style lighting.

    Another thing I find interesting about this movie is its use of some talented and now totally obscure actresses, namely Nina Vale, Helen Mowery and Pamela Blake (no, not Amanda Blake). Who? They are unknown but worth your time to discover here, wherein we luckily find all three featured in the same movie. The very solid actor Barton MacLane (Maltese Falcon '41) also is a great asset portraying a police detective.

    This movie has a unique story and is one of Dix's better performances (not great acting, but good for Dix) and is directed by William Castle. I find it to be both entertaining and interesting in its own b-movie sort of way.
  • A nice old gentleman hires private detective Don Gale (Richard Dix) to find a girl named Elora Lund he hasn't seen in seven years. Gale tries to rip the old man off by sending an impostor to pose as Elora. But then the old man is murdered (in a surprisingly brutal scene) and Gale finds himself on the spot.

    Another entertaining entry in Columbia's always-fun Whistler franchise. A contender for best in the series. Dix is terrific as the sleazeball private eye. Good supporting cast includes Barton MacLane, Mike Mazurki, Regis Toomey, and Charles Lane. Nice direction from William Castle. The plot in this one takes several twists and turns. It's a pretty good story, especially for a B movie. You should definitely check it out, even if you are new to The Whistler.
  • The fifth of the seven Richard Dix Whistler's is a complicated hard boiled affair, coming in at just under an hour with the usual high quota of dizzying plot twists to keep you on your toes. Although be warned if you've never seen it before the IMDb plot summary just about gives it all away, not the ideal thing to do with these films. Nicely noirish and a good print lend a doom-laden atmosphere which the excellent cast make the most of, and at warp speed.

    Seedy private eye Dix is hired by a trusting old shop owner to find his friend a missing girl who has an intriguing if extremely improbable present worth USD 200,000 awaiting her. From there it unravels in the best sleazy Chandleresque fashion, the sequence of events all logical and believable … mostly. Favourite bits: Dix and his lady … friend tracking down and finding manic Mike Mazurki's house at night; the greed in weak-willed but still a goodie Dix's eyes when the real Elora Lund shows up. Ker-ching! I believe the Whistler himself was never as amused as by the ending of this episode judging by his gleeful sneering at the end.

    Tremendous fun for the fan, one of my favourites in a series that never failed to deliver.
  • Warning: Spoilers
    The first four "Whistler" films may have been low-budget, but they were neither cheap nor dull; "Mysterious Intruder" is both. It plays more like a run-of-the-mill private-eye film, and the revelation of the killer(s) is pretty ho-hum as well. It doesn't really feel like a part of the series, apart from the ironic ending, which at least remains intact. The cast is pretty unmemorable this time as well; only an uncredited Kathleen Howard, as a vaguely threatening middle-aged lady, manages to make something of her role in about five minutes of screen time. The film is not without interest - however all its predecessors in the "Whistler" series are significantly better. ** out of 4.
  • The Whistler was both a radio show and a B-movie series from Columbia Pictures. Unlike the usual B-films (which were mostly detective films), this series was more like episodes of the "Alfred Hitchcock Presents" television series--each a unique story involving human nature and each one being unique and unrelated to the others. Additionally, all but the final film starred Richard Dix--who played very different characters in all the films.

    In this film, Dix plays a private detective who isn't especially honest. When a kindly old man comes to him for help, Dix appears willing to use a bit of larceny to cash in on the man's trust. Throughout the film, you see that above all else, Dix is a man out for himself. Additionally, other selfish characters abound--and soon practically everyone wants to cash in on the old man's secret.

    This film is probably the best in the series because the script is much tighter and without the plot holes that sometimes impeded the series. While there are many twists and turns, the script never becomes too complicated and it ends with a wonderful and ironic twist. Additionally, the supporting staff is much better than usual--having many great character actors on hand, such as Mike Muzurki, Barton MacLane and Charles Lane.

    The score of 8 is relative to other B-movies. For the genre, it's among the best and not to be missed by old film buffs.
  • Warning: Spoilers
    Some great character actors liven up this convoluted entry in a series that started off intelligent and clever, and over the time has gotten full of itself to where much of the proceedings are incomprehensible. Murders surrounding a rare record shop and missing persons result in a lot of headaches in trying to keep up with what is going on. Some clever historical references add a bit of interest, but by that time, a momentary blink can cause one to loose track again.

    In this entry, Richard Dix is a cynical private investigator, often at odds with detectives Barton MacLane and Charles Lane, out to solve the sudden death of an elderly music store owner, the disappearance of the girl he was searching for, and the odd assortment of characters coming in and out searching for valuable musical artifacts. In addition to MacLane and Lane are Kathleen Howard, Regis Toomey and Mike Mazurki, but the intrusion of too many characters leads to a seeming dead end in the plot.

    Even at just over an hour, this gets puzzling and ultimately frustrating, especially after watching two previous entries in "The Whistler" series that showed its smarts. I can only guess that while whistling, that shadowy figure saw somebody sucking on a lemon, because this one is out of tune with previous entries in the series. This lacks the artistic genius of the cult director William Castle who moved from series writer to behind the camera.
  • Warning: Spoilers
    The screenplay of MYSTERIOUS INTRUDER is by Eric Taylor, based on his own story "Murder to Music," which appeared in the May 1936 BLACK MASK magazine. Taylor was not one of the first tier BLACK MASK writers, and his work for the magazine varies in quality, but this was a good one, one of his best. At around 16,000 words, the story could have been transcribed to a 61 minute feature with little expansion, and Taylor 's screenplay generally follows his story, but there are numerous small changes and some major ones, and they're all for the worse. A story that originally made perfect sense is often trashed for minor effects. In the story one knows from the beginning that the first girl is the detective's stooge. Actually showing the scene where she meets the old man means that, to fool the audience, she has to be afraid of Pontos (the only character name retained from the story), which makes no sense, since in fact he's her accomplice. A strong moment of surprise in the story is when the detective suddenly accuses the fake girl of trying to get him killed. Taylor has carefully set up the relationship between the two so that the revelation has some punch. In the film it seems like just another meaningless plot twist. In the story, he has his secretary call in and say she's the real girl so that the phony will be released. In the movie, he himself tells the newspapermen, so of course the cops know he sent the phony. The latter part of the film diverges significantly from the story. The denouement of the story is a great scene where the detective seems to be in a bad spot, with the bad guys having their guns on him, but he calmly points out that they have limited options unless they want to kill off "half of San Francisco." And a significant point in the story is that they're not really professional tough-guy crooks except for their hired man Pontos, so the detective's sudden action play after he has them unnerved makes sense. The stooge girl isn't killed, and there's no final scene back in shop, and of course the detective is not killed and the rightful owner, the authentic girl, gets the recordings. There doesn't seem to be much point to the film's end. Having the recordings broken seems a little hard on the character of the innocent young girl who deserves a break. There are other plot flaws in the end of the film. It ends with the ironic note of the cops thinking the detective was guilty. But he had made a call to the cops before he died, so presumably when they get back to headquarters they'll know that he was on the level. Also, at the beginning of the film Pontos apparently takes the recordings with him, yet at the end they are found in the store. And the old storekeeper hadn't seemed aware that he or the recordings were in danger, so why would he hide them inside a base drum? Aside from being more logical, the original story has a more authentic atmosphere, and Taylor adds a number of telling, small details not in the film.

    One doesn't necessarily expect a strong plot from a series film like this, but in this case the author based the screenplay on his own tightly plotted, excellent story. But instead of following the story, he restructured it so there are plot flaws and loose ends. Ah, well.

    The best thing about the film, and the biggest surprise, is that Richard Dix is perfect as the sleazy, not-so-smart, PI; who would have thought it? It's nice to see Charles Lane on screen for more than 30 seconds, quite a rarity. And Castle doesn't do such a bad job with the script that he's given; the film is reasonably atmospheric and the pace is good. If you like series programmers this film should satisfy.
  • greenbudgie13 February 2021
    A nice old gentleman named Stillwell approaches a private investigator about a girl who has been missing for seven years. Stillwell has some valuable property that he strongly feels rightfully belongs to the girl named Elora. Elora's mother had pawned some 'junk' at Stillwell's music shop but who has died since. The intrigue is what is so valuable about this property and whereabouts in Stillwell's shop is it? Stillwell gets stabbed and other murders follow as the search for the mysterious object ensues.

    Richard Dix plays the investigator who only just manages to keep on the right side of the law. This film is so full of mercenary characters. The most interesting of these for me is Rose Denning who is a charming old dear who keeps her hard liquor hidden under the wool in her knitting basket. There is a terrific shot of Mike Mazurki as Harry Pontos when he grabs hold of a package in Stillwell's shop. The evil look of sheer avaricious delight is probably the most menacing sequence I've seen in a film lately.

    I wasn't prepared for the grim ending as I didn't really know what these Columbia Whistler films were all about. The Whistler is a doom-laden narrator who only appears as a shadow on the wall. This one is full of mystery and has a terrific atmosphere as you would expect under the guiding influence of director William Castle. He has excelled himself here as he weaves together so many moments of shadows and skulduggery and I savored every moment of them.
  • A MYSTERIOUS INTRUDER kills Richard Dix's kindly client before Dix can find out why he wants to spend his meager earnings to find a girl the client adopted long ago. Will Dix double cross his way into the big money before psycho-baddie Mike Mazurski kills him, or tough cop Barton McLane puts him away?

    This is full-blown film noir, with an even more morally ambiguous hero (Dix) than most. The full-blown crisis of conscience Dix endures through this movie anchors the fast-moving (and often incoherent) plot in something a little more substantial than is found in the usual private eye caper. The ending to this one is a very good double twist, one of which is a little surprising. Dix's performance is about as far as you can get from Humphery Bogart and Dick Powell -- eccentric and theatrical. It works quite well for establishing his character. The other actors play the usual set of tough cops, psychos, loyal secretaries and money grubbing blonds in the ways you might expect.

    In other words -- find this one if you like noir.
  • Mysterious Intruder (1946)

    ** 1/2 (out of 4)

    Fifth film in Columbia's The Whistler series has Richard Dix playing a private investigator who gets a case from an old man who is looking for his niece. Soon the old man is dead and the PI might have had something to do with it. This is a pretty good entry in the series, although the screenplay falls short when compared to the previous film. I think the biggest problem here is the plot itself, which is quite confusing and even in the end it didn't seem to work itself out very well. The film only ran 61-minutes so perhaps that's why the story didn't have time to work itself out as well as it should have. Dix once again turns in a good performance with Charles Lane, Barton MacLane and Nina Vale offering fine support. Castle's direction is good throughout, although it could have probably been better with a better script.
  • In this entry of The Whistler series, Richard Dix plays private eye Don Gale. A gentle old man, Edward Stillwell, comes to Gale and asks him to look for a neighborhood kid named Elora Lund, whom he hasn't seen since she was 14. She is not a relative, but now that she is 21 he has something that belongs to her that is worth 200K, which is about four million dollars in 2021 dollars. Stillwell can only pay one hundred dollars, but he promises Gale that if he finds Lund that she can make him a wealthy man, but it would be her choice to reward him. But it is not in Gale's DNA to trust somebody to reward him out of the kindness of her heart, so he intends to find a way to get this treasure for himself. But the problem is, he doesn't even know what that treasure is at this point.

    From this point it is double cross after double cross, some of them by Gale, some of them against him. Apparently Gale is known by the police as somebody who skirts the edge of the law as a PI, and when bodies start piling up, Gale seems set up to take the fall. With Warner Brothers baddie Barton McLane as one of the cops, and Mike Mazurski as a mute homicidal maniac, this entry is sure to entertain with a very ironic ending.
  • Warning: Spoilers
    Another strong entry in the Whistler series with Dix as yet another dark character, this time an unscrupulous private eye who is hired by a music store owner to try to find Alora Lund (Nina Vale) a young girl who grew up next door. Poor old Richard Dix, after a career of dashing heroes, must have wondered what happened when he found himself appearing in one oddball part after another!! He was very good and gave the parts a lot of gusto!!

    Don Gale (Dix) is all for fobbing Stillwell off until the elderly man states that if found Alora holds the key to untold wealth. Surprise! Surprise! - that night a girl purporting to be Alora Lund visits Stillwell but she is an imposter, sent by Gale to try to find out about the real girl's inheritance. The night ends with a murder and a kidnapping.

    Meanwhile the real Alora is recuperating in hospital due to an accident and the police (Charles Lane and the gruffly likable Barton MacLane) contact her, hoping she can fit some of the pieces together. The prize that everyone is after is two recordings of Jenny Lind, worth over $100,000 each and it seems that everyone is on the make. Dale takes Alora to be "looked after" by a feisty old lady, he then goes to have it out with his partner Freda who informs him she is just about to double cross him with Stillwell's killer, then she is murdered. Hovering over the whole show is Freda's creepy building janitor Mr. Summers (Regis Toomey).

    An involved plot and good performances make this an excellent entry.
  • Up to this point, I found the entries in "The Whistler" series to be enjoyable B movies, but with "Mysterious Intruder", something seems to have gone wrong. Let me make clear that I didn't think that this entry was a terrible movie. But all the same, it doesn't seem to fit with the other entries. For starters, the story is more of a standard B movie detective movie instead of a more suspenseful story. And this particular detective story really requires you to pay close attention - if you are not keeping careful mental notes to what's going on, you'll likely get lost pretty quickly. I will admit that if you're patient enough to sit through the movie, you'll be rewarded with a dark ending that does seem to fit other movies of the series. Those who also like detective dramas of the 1940s probably will get some extra enjoyment as well. But as I said, it isn't really a true "Whistler" movie, and must be considered somewhat of a misfire.
  • Fifth in the Noirish Whistler film series (and the third Directed by William Castle) is a so-so effort despite a decent enough premise. A kindly old shopkeeper (Paul E. Burns) is looking for a young girl (Pamela Blake) who disappeared suddenly after a family tragedy seven years before. He's been holding some valuables for her. The shopkeeper hires a shady Private Investigator (Richard Dix) to find the young girl. Soon enough, a Model (Helen Mowry), a street thug (Mike Mazurki), a hotel manager (Regis Toomey) and the cops are on the case. At barely an hour, Eric Taylor's script never fleshes out the characters. It's purely a plot driven vehicle. Unfortunately, the P.I. is such a dreary lunkhead of a character that even the twists in the tale don't land. I like Dix in a number of movies, but he isn't able to lift the part. Castle's Direction has a few minor touches and Cinematographer Philip Tannura does a decent job under the circumstances. MYSTERIOUS INTRUDER, with it's P.I. focused story may more claim to being Noir than some of the other Whistler films (I do love that mysterious shadowy figure), but, it's still more of a crime melodrama - and, a second rate one at that.