By Philip Schweier
Over the Memorial Day weekend, I took the time to watch a trio of crime thrillers, all starring Dennis O’Keefe. O’Keefe was a minor leading man in Hollywood who started out as an extra in the early days of talkies. He climbed through the ranks, also appearing on radio, and transitioned into television in the 1950s and ‘60s.
Traveling with two women enables Joe to squeak past the law and head for Crescent City, where he expects to meet up with Coyle, receive $50,000 that he’s owed, and head to South America. But Pat quickly notices Anne’s growing attachment, and begins to wonder how loyal her criminal boyfriend really is.
The film features a number of narrow brushes with the law, as well as a young Whit Bissel as the subject of a separate manhunt. Realizing he’s been betrayed, Joe decides to settle his score with Coyle before leaving the country.
Raymond Burr plays the part of crime boss Coyle to perfection. His sadistic nature slowly gives way to growing paranoia, as he fears Joe come gunning for him. Between Coyle’s growing anxiety, and Pat’s increasing jealousy, the film is an emotional thriller leading the audience to wonder how matters will eventually resolve themselves.
The da Vinci is under scrutiny due to the thefts of two other paintings, both of which were replaced by forgeries. Mitchell follows one lead after another as attempts are made to steal the da Vinci, beginning at its arrival in England. Meanwhile, he also continues to pursue Mary Mason. This romantic endeavor that is complicated when it appears her father may be involved in the art thefts.
As capers go, it’s enjoyable without trying too hard to be more than it is. It hardly ranks high on anyone’s list of mysteries, especially when one stunningly obvious clue seems to escape the notice of Mitchell and his cohorts. But it benefits from having been filmed on location in London at the Tate Gallery. Also, segments of Mussorgsky's “Pictures At An Exhibition" are used for the musical score, providing not only irony but a cheap source for music cues.
Both The Fake and The Diamond Wizard were produced by British studios (Pax Films and Gibraltar Films, respectively), though perhaps due to its American leads, they have a more American tone. According to the IMDB, O’Keefe is credited as co-director on the Diamond Wizard, and co-authored the script under the pen-name Jonathan Rix.
While none of O’Keefe’s films stand out as exceptional thrillers or film noir, they’re pleasant diversions for those that haven’t seen them before.