Jigsaw (1949)

Jigsaw (1949) is an unusual and at times outré mystery chase hate-group propaganda versus journalism, journalism and media film noir, starring Franchot Tone as a detecting assistant district attorney, on the scene and hunting for what might be called neo-fascists, or perhaps simply more likely, just fascists.

None of that was really truly departed for the future, after all, not even by 1949. And what is and was and what became and what now is fascism, and what the definitions of fascism are and might be, are all questions much relevant to film noir.

Jigsaw (1949) is an entertaining thriller that’s so over-the-top, you can’t help but overlook its far-fetched plot and be grateful for the fun it brings. It’s a film that’s as strange as they come.

By the standards of today, Jigsaw is strange, and yet viewed through a historical lens we might instead merely see a style of film that has failed to catch on, something new and then discarded.

Franchot Tone enjoys this crazy action as a New York special prosecutor who is on the trail of a shadowy hate group that has infiltrated the upper tiers of the city’s government and business sectors. His performance is reminiscent of his previous role in I Love Trouble, adding a touch of sarcastic wit to the character.


These hate groups! Could barely be more topical. Except that it is not and living in the current hate-fascinated era, where hate groups abound, multiply and surround us, even unto us not knowing some of the time we are even a part of one, in the case of Twitter it might seem, even despite this, there is little information about this hate group, except that it has a great neo-fascist name, The Crusaders.

However, it’s the female characters who truly capture your attention. Winifred Lenihan, in her only film role besides a forgotten 1931 movie, is captivating as a sophisticated socialite with secrets of her own. Jean Wallace, known for Kiss Me Deadly, is equally mesmerizing as a smart and seductive blonde cabaret singer with dangerous ties.



The film is aptly named Jigsaw, not just for its plot but also for being the sole production of Tower Pictures Inc. It was put together by a team of skilled yet unsung filmmakers who, by some twist of fate, joined forces to create 77 minutes of gripping entertainment set against the backdrop of a Manhattan so richly gothic, it borders on self-aware noir. 

The movie opens with sweeping shots of a desolate city street and builds up to an intense finale in a dimly lit art gallery at night. The cityscape is shrouded in shadows so thick, it feels almost underground. The film features unexpected tracking shots reminiscent of Max Ophuls’ work, and director Fletcher Markle, along with cinematographer Don Malkames, delivers a visually striking film. 


John Garfield in Jigsaw (1949)

Marc Lawrence in Jigsaw (1949)

The screenplay is both cheesy and clever, clever and cheesy, outré with an intriguing lack of morality. A journalist’s murder by villains is barely cold before Tone makes advances on the grieving widow, who seems more passionate than sorrowful.

Adding another layer to this cinematic puzzle are cameo appearances by A-list stars in uncredited roles, including Marlene Dietrich, Henry Fonda, John Garfield, Marsha Hunt, Burgess Meredith, and Everett Sloane.



The plot of Jigsaw (1949) spins and revolves and works its way in and out and around the mysterious death of a print shop owner, which is initially ruled as a suicide. However, Assistant District Attorney Howard Malloy suspects foul play and believes there’s a connection to an extremist political group known as the Crusaders, yes indeed.

His suspicions are further fueled when a journalist, who had written articles criticizing the Crusaders, is also found dead. Malloy’s investigation leads him into a web of intrigue as he uncovers the group’s influence and their sinister activities.



Point of View Cinematography in Jigsaw (1949)

Charles Riggs: You know, I was born in this city, Howard. In our block, we had guys from practically every race and religion you ever hear of... and a couple you didn't. But we got along pretty well.

Howard Malloy: Well, that's the way it ought to be.

Charles Riggs: In our block, nobody cared what country your parents came from or where they went to church. Nobody called you a nasty name... until you were taught there were nasty names and some people were supposed to be called by them -Micks, Polacks, Wops, Limies, Spics, Hunties.

Howard Malloy: That's part of our history. America always has to melt away the differences between people.

Charles Riggs: Sure and most always you don't understand why they're supposed to be different. They're just somebody else's say so, somebody else's influence. Now we got people around who want to make people hate each other, be afraid of each other, just so they can make money out of it. I don't like that.

In all Jigsaw (1949) is an indie film comes across as hesitant, lacking a clear stance, which leads to a confusing plot. The film seems to aim at cautioning the audience about the allure of right-wing groups in the post-World War II McCarthy era. 

This cautionary tale is a response to the rising anti-communist sentiment, especially within Hollywood. However, the message becomes unclear when the film portrays this appeal as merely a ruse by criminals, thus diluting the political commentary with a more generic crime narrative. It appears that the filmmakers, possibly influenced by the cameo roles of noted liberals like Fonda, Hunt, and Garfield, may have altered the script last-minute to avoid controversy, resulting in a convoluted story.



Marc Lawrence in Jigsaw (1949)

Everett Sloane in Jigsaw (1949)


Dist. Atty. Frank Walker: [coming into a room and viewing several dead bodies] This place looks like the last act of "Hamlet!"

Howard Malloy: It's the last act for all kinds of things.

The comparison to European crime dramas of the '70s and the contrast with '30s crime movies highlight Jigsaw’s unique place in film history. Its deliberate aloofness and comic book atmosphere, as you mentioned, create a distinct narrative style that sets it apart.

The use of cameos as red herrings to create a mirror-like effect is an intriguing observation. It speaks to the film’s experimental nature, which seems to be misunderstood by many. Your appreciation for its starkness and unadorned filmmaking is a testament to its artistic value, which, as you rightly point out, deserves a second look free from preconceived notions.

It’s always refreshing to hear from someone who can appreciate the nuances of such an experimental work and recognize its deliberate aesthetic choices.



And when it comes to cats in film noir, there is a lot to view here, in some curious pet shop antic and sleuth filled cute fun.

Cats in Film Noir - - Jigsaw (1949)

Pet shop owner: [carrying a striped cat] Perhaps you'd like this little lady. Miss Whitfield.

Barbara Whitfield: [holding a black cat] No. thank you. This is the one. Does he have a name?

Pet shop owner: Yes, it's Bennie - Benvenuto, really.

Barbara Whitfield: Hmmm. I used to have a cat they called Hadrian the Seventh. We ended up calling him Harry.

As for the bare-naked fact of cinematic pleasure and how much people of the world today could conceive of enjoying themselves watching this print of this unusual and pleases-itself film noir, the drama may be said to be somewhat engaging.

The sophisticated party sequence narrated by Tone stands out as innovative and possibly the highlight of the film. Director Markel skillfully uses close-ups to enhance the storytelling, and Tone gives a nuanced performance, though it might be too restrained at times. The standout performance is by Winifred Lenihan as Mrs. Hartley, who masterfully blends charm with threat. In the end, the film remains relatively unknown and can be seen as reflective of the dilemmas faced by liberals during a tumultuous time in American history.

Barbara Whitfield: Why did you come over to me at that party, Howard?

Howard Malloy: Because you were the only person who didn't look like you belonged there.

Barbara Whitfield: Really? I belong anywhere I'm wanted!

Howard Malloy: Do you?

Barbara Whitfield: Don't I?


Our reflection on Jigsaw captures the essence of what makes indie films so captivating: the ability to surprise and refresh audiences with unique performances and styles. Jean Wallace’s dynamic presence and Franchot Tone’s subtle portrayal add depth to the film, distinguishing it from mainstream cinema.


Angelo Agostini: You're a tough guy, Mr. Malloy. I can see that, and I like tough guys who are tough about the right thing.

Jigsaw parallels with other politically charged films like Z and Saboteur, especially with its daring commentary on racism and bigotry. The Danziger Brothers’ bold move to tackle such themes at a time when Hollywood was shifting focus to communism is indeed noteworthy. It’s interesting how the film manages to blend noir elements with a political message, even if the execution seems to falter in engaging the audience fully as you’ve noted.

Henry Fonda in Jigsaw (1949)

The star cameos add an intriguing layer to the film, contrasting with the relatively unknown main cast. It’s quite a mix of talent, from Hollywood elites showing support for the film’s message to fresh faces from radio and Broadway. Your insights into the film’s production and its impact both then and now are quite thought-provoking.


Barbara Whitfield: [Changing behind a dressing screen] Is this visit business or pleasure?

Howard Malloy: Right now it's your business and my pleasure. 

 

The movie begins with a mysterious murder: an unidentified man kills another for reasons that are not revealed, leaving the victim’s foreign-born widow too frightened to say anything other than that it was suicide. This incident is just the first in a series of murders and attempts, drawing more people into the fray as the plot thickens.

Much of the film unfolds in the dark of night, featuring an expectedly exotic nightclub called “The Blue Angel,” where a dangerous blonde woman sets off alarms from afar. She seems to be deeply entangled in the plot, knowing too much about too many influential figures, but she isn’t the only perilous female character.

The political undertones echo those of “Keeper of the Flame,” which came out six years earlier and dealt with American fascism. Although this film is set post-war and hints at racism and Nazism, the depicted secret society is colorless and all the more threatening for its widespread connections in society.

Despite its complexity, the story is logical and coherent throughout. There are moments that almost feel like Alfred Hitchcock is directing. With a runtime of only 72 minutes, the film is dense and fast-paced, which might make it challenging for some viewers to keep up. A second viewing could be rewarding, particularly to catch all the Hitchcockian elements.