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In the film, Janis Carter plays Jean Lang, a character whose actions spark intrigue and tension as she makes some highly questionable decisions regarding a complete stranger she encounters.
Jean, who is telling fortunes using cards, becomes concerned when her cards predict grave danger for a man she notices in a restaurant, played by Richard Dix, who is suffering from that most famous of every film noir malady available to the script writes, amnesia.
Despite the fact that he is a total stranger, Jean takes it upon herself to warn him, accosting him in the street with her ominous message. Instead of taking him to the police or a hospital—logical steps for dealing with someone who has lost their memory—Jean makes the reckless decision to take him home, allowing him to sleep on her couch in the apartment she shares with her younger sister.
The stranger, without any identification, carries only a few enigmatic items in his pockets: a prescription, a bakery order for a birthday cake, a train schedule with a town circled, a cigarette lighter, a receipt for two dozen roses, a Canadian dollar with a license number, and a key.
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These items become the foundation for a scavenger hunt of sorts, as Jean and her sister team up with their respective partners to piece together the identity of the amnesiac. Throughout this quest, the amnesiac appears harmless, even endearing, as he cooks breakfast for the sisters and says grace before eating.
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However, Jean repeatedly returns to find dead animals whenever she leaves him alone, a disturbing pattern that somehow fails to alarm her.
The Whistler series, fondly remembered by many who tuned into the radio in the 1940s, featured Richard Dix in a leading role that carried over into a number of films, including the one directed by Lew Landers.
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The film is characteristic of the noir style of the 1940s, filled with dark twists and turns. Despite the low-budget nature of the production, Landers manages to create a compelling atmosphere that heightens the sense of mystery surrounding Everest’s lost identity and the ominous prediction hanging over him.
The story unfolds through a series of strange encounters and clues found in Everest’s pockets, leading Jean and others to embark on a quest to discover who he really is, rather than taking the more rational step of involving the police or seeking medical help.
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| Lighting effects create film noir— Richard Dix in The Power of The Whistler (1945) |
While the acting and dialogue might not stand out as particularly strong, the film’s suspenseful pacing and the intriguing premise ensure it remains effective, drawing viewers into its dark narrative. It’s a film that, despite its flaws, keeps you guessing until the end, a testament to the enduring appeal of the The Whistler series and its exploration of fate and mystery.
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The film weaves an intriguing narrative, reminiscent of the "Thin Man" style, where each clue gradually reveals a more complete picture of the mysterious stranger. As is characteristic of the Whistler series, this story is imbued with a strong noir atmosphere, particularly impressive considering it was a low-budget production by Columbia.
The film also explores the theme of inescapable destiny, a recurring motif in the Whistler films, as the plot eventually comes full circle, leading to a thought-provoking conclusion. Not before Richard Dix demonstrates he has lost all memory of masculinity by wearing a domestic apron, much to the ladies' amusement.
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| homme en tablier — Richard Dix in The Power of The Whistler (1945) |
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| Janis Carter and Jeff Donnell in The Power of The Whistler (1945) |
Each Caress like a bolt of lightning .. Chilling You!
RICHARD DIX as the man who loved...to kill!
"I'VE WALKED WITH MANY MURDERERS BUT NEVER ONE LIKE THIS!" The Whistler (Print Ad-Decatur Daily Democrat, ((Decatur, Ind.)) 6 July 1945)
Radio's Mystery Man Will Hold YOU Spellbound!
The Power of the Whistler (1945), the third entry in Columbia’s Whistler film series, combines suspense, noir atmosphere, and a dash of absurdity. Richard Dix, the series’ leading man, delivers another memorable performance as a mysterious amnesiac, showcasing his ability to inhabit a range of roles—from virtuous to villainous.
While the plot stretches credulity, the film offers an engaging narrative that builds on the series’ recurring themes of fate and identity.
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The story begins when Jean Lang (Janis Carter), a spirited fortune teller, pulls a tarot card forewarning death within 24 hours for a stranger she spots in a restaurant. Compelled by her premonition, she approaches the man (Dix) and discovers he has no memory of who he is, having recently been struck by a car.
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| Cats of film noir — Richard Dix and cat in The Power of The Whistler (1945) |
Rather than seeking help from the authorities, Jean takes the man home to the apartment she shares with her sister (Jeff Donnell), setting off a series of events that are as intriguing as they are implausible.
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The amnesiac carries a handful of cryptic items in his pockets—a prescription, a train schedule, a receipt for roses, a bakery order, and a Canadian dollar with a license number written on it. Using these clues, Jean and her sister embark on a scavenger hunt to uncover his identity, splitting into teams to retrace his steps.
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| Bookshops in film noir — The Power of The Whistler (1945) |
As they dig deeper, it becomes clear that their seemingly gentle houseguest, who cooks breakfast and says grace, harbours a dark side—evidenced by the inexplicable deaths of animals whenever he is left alone.
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Despite its compelling setup, the film falters in its second half. Falters! What on earth might we be expecting of this production 90 years on from its release date. Faltering by whose standards, we might even ask. The resolution, though fitting for the series’ theme of inescapable destiny, feels rushed and less imaginative than the buildup.
The noir atmosphere, enhanced by shadowy cinematography and the titular Whistler’s ominous narration, keeps the audience engaged, even as the plot grows more contrived. Contrived is good, and is of a fashion in itself.
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Dix does his noirly bit as the enigmatic amnesiac, balancing charm and menace, while Carter’s bubbly energy feels mismatched for the film’s darker tones. Moments of unintentional humor—such as a scene where a stranger allows Jean and Dix to occupy his car and then offers them a ride—lend levity to an otherwise suspenseful narrative.
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| The Power of The Whistler (1945) |
For fans of B-movie mysteries and The Whistler series, The Power of the Whistler delivers a mix of intrigue and absurdity. While the script’s loopholes and coincidences require suspension of disbelief, the film’s engaging performances and noir ambience make it a worthwhile watch.
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The Power of the Whistler (1945)
Directed by Lew Landers
Genres - Crime, Mystery-Suspense, Romance, Thriller | Sub-Genres - Film Noir | Release Date - Apr 19, 1945 | Run Time - 66 min.
