With scores of classic credits (even more uncredited), Ben Hecht was both the greatest and the most influential of all Hollywood scripters. Yet, in seven attempts at directing his own stuff, he showed not simply a lack of aptitude, but something like contempt for the craft. As if he was getting back at directors who ill-served him. This one, co-produced with favored cinematographer Lee Garmes, and made quickly for a song at Republic Studios, takes place in the world of ballet as high strung dancer Ivan Kirov attempts a post nervous breakdown comeback with new love/dancing partner Viola Essen (both in their only film role). But look out!; he may have killed his last partner! Something the cops are sniffing out and which ballet mistress Judith Anderson, impresario Michael Chekhov and poetic hanger-on Lionel Stander all fear. Garmes puts out striking, artistically lit compositions, but nothing cuts together. Hecht too busy giving free reign to purple prose Clifford Odets might have blanched at. Though some of it so ripe, it’s fun. As a one-off, it’s watchable, in a 'What Were They Thinking' sort of way. And worth a listen for an inventive score from 'Bad Boy' classical composer George Antheil.
DOUBLE-BILL: Hecht had better results on his previous directing gig, ANGELS OVER BROADWAY/’40, with Rita Hayworth, Doug Fairbanks Jr, and Thomas Mitchell. OR: Two years later, Republic tried artsy low-budget again to even worse critical & commercial response: Orson Welles in Shakespeare’s MACBETH/’48. Decades later, with original Scottish-accented soundtrack restored, it’s a rightly acclaimed off-beat masterpiece. (see below)
READ ALL ABOUT IT: New bio from Adina Hoffman: BEN HECHT: FIGHTING WORDS, MOVING PICTURES.
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