Riffraff (1947)

Riffraff (1947) is a  flavoursome Panamanian-set P.I. adventure oil executive nightclub mystery film noir with Pat O'Brien committed to the hard-bittten style, atheistically prosecuting the style for all the grimy practise it is worth.

The question of who came first, Dan Hammer or Mike Hammer, is one that warrants investigation. Both characters made their debut in 1947, but the more pressing question is: which of the two left a more significant mark on American pop culture?

Dan Hammer, the protagonist of the film Riffraff, is a character who, despite having several commendable qualities, has largely faded into obscurity. The film, set in Panama, features Pat O’Brien as Dan Hammer, a suave and resourceful man who knows the ins and outs of the town. 

Hammer is the go-to guy for those in need, often receiving payment for his valuable tips. In Riffraff, Hammer stumbles upon a potentially lucrative opportunity involving a map to Peruvian oil wells. The competition for the map is fierce, with characters like Jerome Cowan and Walter Slezak adding to the tension. The plot thickens with the involvement of a mysterious woman, whose allegiance remains uncertain.

The film’s narrative kicks off with Hammer being hired by Charles Hasso for protection, only for Hasso to be murdered shortly after. Hammer is then employed by oil magnate Walter Gredson to find Hasso and the map. 

The stakes are high, with Hammer’s life and a substantial paycheck on the line. He is aided by his loyal cab driver, Pop, and the captivating nightclub singer, Maxine. The film is a classic detective story, featuring a wordless six-and-a-half-minute opening scene that showcases a murder on an airplane during a thunderstorm. This sequence, beautifully shot by cinematographer George Diskant, sets the tone for the film.

Riffraff is filled with clever elements, such as the MacGuffin that remains just out of Hammer’s reach, and a script peppered with witty dialogue and recurring gags. The chemistry between O’Brien and Kilbride adds a layer of charm to the film. 

Despite its strengths, the film’s plot is somewhat barebones, and the romance between the middle-aged Hammer and the young, vivacious Maxine falls flat. The film’s attempt to elevate itself above the typical B-movie mystery is commendable, but it ultimately falls short.

In contrast, Mike Hammer, created by Mickey Spillane, is a character who has left an indelible mark on American pop culture. Mike Hammer is the quintessential hard-boiled detective, known for his brutal approach to crime-solving and his unwavering sense of justice. 

Spillane’s novels, starting with I, the Jury in 1947, introduced readers to a detective who was unapologetically tough and relentless. Mike Hammer’s popularity soared, leading to numerous adaptations in various media, including television series and films.

Mike Hammer’s impact on pop culture is undeniable. He became a symbol of the gritty, no-nonsense detective, influencing countless other characters in the genre. The television series Mickey Spillane’s Mike Hammer, starring Stacy Keach, brought the character to a wider audience, further cementing his place in the pantheon of iconic detectives. 

The series, which aired in the 1980s, captured the essence of Spillane’s creation, blending elements of classic film noir with the sensibilities of the time.

While Dan Hammer’s legacy is confined to a single film, Mike Hammer’s influence extends far beyond the pages of Spillane’s novels. 

Mike Hammer’s character resonated with audiences, embodying the archetype of the hard-boiled detective and leaving a lasting impression on the genre. His stories, filled with violence, intrigue, and a relentless pursuit of justice, continue to captivate readers and viewers alike.

In the 1947 cinematic opus Riff-Raff, Pat O’Brien embodies the character of Dan Hammer, a cunning conman who acquires a highly coveted map detailing the location of a lucrative oilfield in Panama. This narrative, steeped in tropical intrigue, unfolds within the stylistic confines of RKO’s film noir tradition.

The screenplay, a shufflingly shuffled original creation by Martin Rackin, weaves a seemingly modest adventure tale that nonetheless captivates through its sophisticated noir execution and compelling performances. O’Brien delivers a robust and hearty and faithfully fun and noir and cigar-filled full on noirisms in his portrayal, while Walter Slezak excels in the role of Eric Molinar. Anne Jeffreys seizes her moment in the spotlight, delivering a memorable performance as the tough and alluring nightclub chanteuse, Maxine Manning.

Under the directorial vision of Ted Tetzlaff, the film’s visual narrative is elevated by the exceptional black-and-white cinematography of George E. Diskant. Tetzlaff’s direction is marked by a deliberate indulgence in the then-contemporary aesthetic of striking angles and dramatic lighting, which imbues the film with a distinctive visual flair.

The ensemble cast of Riff-Raff is further enriched by the contributions of Percy Kilbride, Jerome Cowan, Jason Robards Sr., George Givot, Drew Miller, Marc Krah, and Eduardo Noriega. Tetzlaff, whose directorial credits include World Premiere (1941) and The Window (1949), and who served as cinematographer on over 100 films, including the Cary Grant classics The Talk of the Town (1942) and Notorious (1946), accepted a reduced salary to helm this project under the auspices of executive producer Jack J. Gross.

Riff-Raff, produced by RKO Radio Pictures, spans a concise 80 minutes. The film’s production team includes executive producer Jack J. Gross and producer Nat Holt, with a musical score by Roy Webb and production design by Albert S. D’Agostino and Walter E. Keller. The film was subsequently released on DVD by Warner Home Video in 2015 in the United States.

In the 1947 film, this is the one, one of the best years for film noir my friends, quite indeed, in Riff-Raff, Pat O’Brien portrays Dan Hammer, a detective in Panama who finds himself embroiled in a complex case involving a valuable map. Charles Hasso (Marc Krah), a recent arrival, seeks Hammer’s protection, but is soon murdered, leaving Hammer to find the map for oil magnate Walter Gredson (Jerome Cowan). 

The plot thickens with the arrival of the menacing Molinar (Walter Slezak), who also desires the map. Hammer, with the help of his loyal cab driver Pop (Percy Kilbride) and the alluring nightclub singer Maxine (Anne Jeffreys), must navigate this perilous situation.

The film opens with a striking, wordless six-and-a-half-minute scene featuring a murder on an airplane during a thunderstorm, showcasing the exceptional cinematography of George Diskant. This sequence sets the tone for the film, which is filled with clever elements such as the MacGuffin that remains just out of Hammer’s reach. Director Ted Tetzlaff masterfully teases the audience with this plot device, maintaining suspense throughout.

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The script is notable for its witty dialogue and recurring gags, such as Pop’s backfiring taxi and the necktie. The banter between O’Brien and Kilbride is particularly memorable, adding a layer of charm to the film. Despite its strengths, the film’s plot is somewhat simplistic, and the romance between the middle-aged Hammer and the young Maxine lacks chemistry.

O’Brien’s portrayal of Hammer, while effective in delivering sardonic lines, lacks the necessary edge to make him a convincing hard-boiled detective. This makes his character more akin to a genial uncle than a gritty investigator.

It is noteworthy that Riff-Raff bears no relation to either the 1936 MGM release Riffraff or the 1991 film Riff-Raff. This 1947 iteration stands as a testament to the era’s cinematic artistry, distinguished by its narrative and visual sophistication.

Riff-Raff, a 1947 film noir directed by Ted Tezlaff, weaves a tale of intrigue, danger, and romance in Panama. The story begins with a cargo plane leaving Peru during a storm, carrying two passengers. When an emergency arises mid-flight, Charles Hasso (Marc Krah) claims that the other passenger leaped to his death despite his intervention. 

Upon landing, Hasso is questioned by Major Rues (George Givot) of the Panamanian secret police but is released for lack of witnesses. However, Hasso leaves with the deceased passenger's briefcase, which contains a valuable map of unregistered Peruvian oil wells.

To safeguard himself, Hasso hires private investigator Dan Hammer (Pat O’Brien) as his bodyguard. Unknown to Hammer, Hasso secretly pins the map to Hammer's bulletin board before departing. Hammer is later hired by oil executive Walter Gredson (Jerome Cowan) to recover the map. Gredson reveals its importance, as it shows the locations of his company’s clandestine oil acquisitions.

As Hammer investigates, he encounters Maxine Manning (Anne Jeffreys), a nightclub singer secretly working for Gredson. Despite her initial duplicity, Maxine grows fond of Hammer and switches her allegiance. Meanwhile, Eric Molinar (Walter Slezak), another player in the search for the map, emerges as a formidable opponent. Hammer is drawn deeper into the dangerous quest as Molinar's thugs attempt to extract information from him.

The stakes heighten when Hammer discovers Hasso’s lifeless body in a hotel bathtub. Realizing the map's perilous allure, Hammer devises a plan to outwit Molinar. With Maxine’s help, Hammer sets a trap, luring Molinar to his office. However, Molinar murders Gredson and escapes with the map in a taxi driven by Pop (Percy Kilbride), Hammer’s loyal friend. Unbeknownst to Molinar, Pop takes him straight to the back door of the police headquarters.

Hammer arrives shortly after, subduing Molinar and retrieving the coveted map. Back at his office, Molinar's thugs are apprehended, and the map is handed to an eager oil company executive (Jason Robards Sr.). As the story concludes, Hammer and Maxine share a romantic moment, observed by Hammer’s loyal dog, before the screen fades to black.

The film, initially titled The Big Angle and later The Amazing Mr. Hammer, marked Tezlaff’s directorial return after his service in World War II. Though praised for its engaging opening and sharp dialogue, critical reception was mixed. 

The Los Angeles Times noted the film’s cohesive storytelling and O’Brien’s skilled performance, while The New York Times found it only slightly above average despite its strong start. Despite its mixed reviews, Riff-Raff remains a testament to the adventurous spirit of mid-century film noir.

In conclusion, while both Dan Hammer and Mike Hammer made their debuts in 1947, it is Mike Hammer who has had a more significant impact on American pop culture. Dan Hammer’s single cinematic outing, though entertaining, pales in comparison to the enduring legacy of Mike Hammer. 

Spillane’s creation has become a cultural icon, influencing the portrayal of detectives in literature, film, and television for decades. The question of who came first may be intriguing, but the answer to who made the bigger impact is clear: Mike Hammer stands as a towering figure in the annals of detective fiction.

Riffraff (1947)

Directed by Ted Tetzlaff

Genres - Action-Adventure, Comedy, Crime, Drama, Thriller  |   Sub-Genres - Film Noir  |   Release Date - Sep 15, 1947  |   Run Time - 80 min.