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A wealthy wife suspects her artist husband's affair with his model. He poisons his wife for inheritance but faces unexpected consequences after her death. A thriller exploring greed, betrayal, and the consequences of criminal actions.
Of all the serial movie concepts, icons, characters and themes, from the earliest moments of serialisation through the incredible eras of the 1930s and 1940s which developed the serial movie, the absolute prototypes of the infinite tankerloads of television shows we have created since 1960, through what are now generations of streaming services, the absolute origin of these is the movie serial, and of those serials none is no more noir than The Whistler.
The Whistler concept is loose but intriguing, and invisible, a significant marketing challenge, as we are literarily and literally following a shadow, the character of The Whistler is a shadow, and what could be more noir than a shadow as a character? Furthermore, the stories in the The Whistler series are not only on the dark side, but The Whistler character speaks to the morality and the conscience and the paranoia of the main character of each story, and what could be more noir?
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Furthermore and yet, this invisible character which only appears in chiaroscuro, noir's favourite colours, also taunts and bothers the malefactor protagonists of the The Whistler tales and is not only cynical, but parades a kind of smart-ass omniscience, fully representative of noir's favourite attribute, which is fate.
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And yet furthermore yet, this partially visible omniscient storytelling wraith, has a musical theme, an isolated human note, which stands well among all of the soundtracks to film noir, and of all the great noir soundtracks, the noises of The Whistler are distinctive and the most of any serial film type, to be in that psychological domain.
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By which it may be said that while The Twilight Zone and the Basil Rathbone Sherlock Holmes, and Dragnet may all have noir qualities and aspects, and moments and themes, there is none of the depth of film noir in any of those, in terms of the dark pull of humanity's own faults, its own desires and failings, all exposed by this noirish ghost character, which appears to be dressed in the ultimate noir male gumshoe get up. Although note carefully that The Whistler does not smoke, and there is maybe more to this than meets the eye.
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It might be the fact that there is no such central visible working character to whoop for in the The Whistler series, as a shadow in a hat is not much to go for on a poster, although in the theatres it must have worked very well. Everything needed for a quick film noir trailer is in the persona and habits and mis en scene of The Whistler.
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| The shadow of The Whistler is the ultimate fateful noir personification, with Richard Dix in The Secret Of The Whistler (1946) |
The sixth Whistler flick, straight outta Columbia, stars Richard Dix. Picture this: Dix, a real lowlife, weds a loaded dame with a bum ticker. But he’s got his eyes on Leslie Brooks, a gold-digging dame who’s got him all hot and bothered. Trouble is, wifey’s health perks up – she oughta know better than to mess with fate..png)
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Dix? He’s a real piece of work, playing the creepy hubby to perfection. And Brooks? She’s a knockout, the kind that sets tongues wagging. The supporting cast? Aces, with John Hamilton and Byron Foulger in the mix. But here’s the kicker: Brooks, the mercenary gal, gets a hero’s makeover in the final act. It’s a tough sell, but hey, that’s showbiz. All in all, this B movie? Solid as a cement overcoat.
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This film noir temptation and consequences, what befalls the foul. Ralph Harrison, a mediocre middle-aged artist portrayed by Richard Dix, is married to wealthy Edith Harrison (Mary Currier). The film sets a macabre tone from the start: a woman orders an expensive headstone, even though it will cost five thousand dollars in 1946.
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| Noir desperation in The Secret Of The Whistler (1946) |
The stonemason informs her it will take three months to build such a monument. She agrees and provides her own name for the headstone. Edith, suffering from a bad heart, knows she has only months to live..png)
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Ralph’s feelings for his wife are unclear initially. He enjoys not selling sketches in the park, having his own studio, and entertaining his parasitic friends. However, the doctor’s news of Edith’s limited time troubles him. During this difficult period, Ralph befriends Kay Morrell, an ace grifter, and falls in love with her.
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| Vacuum cleaners in film noir in The Secret Of The Whistler (1946) |
The dilemma arises: Ralph desires Kay, but divorcing Edith means losing his wealth. Just when he could wait out Edith’s illness, a young hot-shot doctor introduces a state-of-the-art treatment plan, giving Edith a second chance at life. The film delves into noir themes—temptation, love, and the unexpected consequences of forbidden choices.
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Richard Dix’s captivating performance as Ralph, along with Claire Du Brey’s loyal servant and Leslie Brooks’s ice-cold femme fatale, makes this B noir highly recommended.
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Richard Dix delivers one of his finest performances. He portrays Ralph Harrison, a protagonist who remains sympathetic even after committing the heinous act of killing his wife. Harrison, like many noir characters, falls head over heels for a beautiful but mercenary woman named Kay. She’s described as “just a bit cold around the heart,” echoing the classic noir trope. Kay manipulates Ralph, enjoying the benefits of his attention and occasional gifts.
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| Lousy husband noir with Richard Dix in The Secret Of The Whistler (1946) |
The film’s suspenseful screenplay, penned by Richard H. Landau and Raymond L. Schrock, elevates it beyond typical B-movie origins. The stellar cast includes Dix, Leslie Brooks, and Mary Currier, along with notable character actors like Ray Walker, Mona Barrie, and Byron Foulger. John Hamilton, known for TV’s “The Adventures of Superman,” also makes an appearance. And let’s not forget Otto Forest, who serves as the omnipresent narrator.
A standout performance comes from Claire Du Brey as Currier’s devoted housekeeper, Laura. Her sinister portrayal leaves a lasting impression, especially during the film’s chilling and if you like the satisfying film noir conclusion, whatever that conclusion may be, this could of course be discussed, this could be an example of that satisfying film noir conclusion, that satisfying conclusion.
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There is certainly a justice and death conclusion aspect to film noir, and this double death and justice and injustice violent ending is quite shocking insofar as what it implies, sudden and violent and twisted. That must be among the rest, nonetheless, a film noir conclusion.
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| Leslie Brooks in The Secret Of The Whistler (1946) |
The film serial is not a genre. it is a coherent aesthetic system that embraces many sub- genres, categories and types of stories: this includes the western, various types of crime film including the police procedural, the Fbi agent, the insurance agent, the vigilante caught between police and the criminals, reporters, flying superheroes, masked superheroes, caped avengers, sportsmen, circus performers, mystery villains, firefighters, propaganda stories, invisible villains, soldiers, marines, aviators, pirates, spies, aliens and spaceman, royal Canadian Mounties, desert adventures, jungle princesses, jungle adventures, even boy scouts.
All serials, whatever their setting, characters, story type and time, share the following components: the polarization between good and evil, moral extremes, characters who lack interior depth as the dramatic focus is always external, sensationalism, excess, larger than life situations and characters, hyperbole and a non- classical narrative structure where causal development, motivation, logic and narrative progression are less important than spectacle and thrills.
Encyclopaedia of American Film Serial, Geoff Mayer
In film noir, elements like low-key lighting, shadows, and camera angles effectively create a moody and suspenseful atmosphere. The opening sequence often showcases these aesthetics, emphasizing characters’ true intentions and moral ambiguity. Elements like the ticking clock and deep focus enhance tension and contribute to the style's social and historic impact.
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THE WHISTLER movie series
- The Whistler (1944) directed by William Castle
- The Mark of the Whistler (1944) directed by William Castle
- The Power of the Whistle (1945) directed by Lew Landers
- Voice of the Whistler (1945) directed by William Castle
- Mysterious Intruder (1946) directed by William Castle
- The Secret of the Whistler (1946) directed by George Sherman
- The Thirteenth Hour (1947) directed by William Clemens
- The Return of the Whistler (1948) directed by D. Ross Lederman
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| The Secret Of The Whistler (1946) |
The first Whistler movie wasn’t made until 1944, but the story of The Whistler on film began with a spine-tingling radio script. Two years earlier, on May 16, 1942, a pair of fictional axe murders took place on the U.S. west coast. These grisly crimes were part of a suspenseful program called The Whistler on the CBS Network.
Sponsored by The Signal Oil Company, the debut broadcast became an overnight sensation. It marked the beginning of a successful and long-running radio series, with 692 episodes on the west coast and 77 on the east coast from 1942 to 1955.
Each episode followed a similar pattern. It started with a haunting 13-note whistle and an eerie voice declaring, “I am the Whistler, and I know many things, for I walk by night…” The characters in the stories strayed beyond legal and moral boundaries to achieve their unsavoury goals. Yet, just when success seemed within reach, their own flaws—greed, avarice, or stupidity—led to ironic downfall. The sinister Whistler, like a Greek chorus, narrated these tales, commenting on the proceedings and delivering punishment with vindictive delight.
Richard Dix, a major star of silent films and the early talkie era, delivered a memorable performance as Yancy Cravat in RKO’s Oscar-winning western adventure “Cimarron” (1931). His career spanned four decades, over 100 motion pictures, and various highs and lows.
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The Secret of the Whistler (1946)
Directed by George Sherman
Genres - Crime, Drama | Sub-Genres - Film Noir | Release Date - Nov 7, 1946 | Run Time - 65 min.
Despite the acclaim for Cimarron, Dix found himself associated primarily with the western/action adventure genre. As he transitioned into B movies in the late 1930s, he grew dissatisfied with the roles he was offered. Seeking a change, he portrayed a psychotic sea captain in Val Lewton’s eerie melodrama The Ghost Ship (1943). This unexpected villainous role caught the attention of Harry Cohn, who then cast Dix as the lead in the first Whistler film, launching a successful series.
Although the Whistler films were low-budget B movies, they garnered praise from discerning critics. Dix’s exceptional performances showcased his versatility as an actor. For fans of classic cinema, these films are a testament to his talent and enduring legacy. Robert Dix, his son, expressed pride in his father’s work on the series and his decision to take on the starring role.
