Undertow (1949)

Directed by William Castle; produced by Ralph Dietrich

Tony Reagan (Scott Brady) was a small-time member of the Chicago Mob until he joined the army for seven years, much of it spent in combat. The experience turned him away from any thoughts of crime, and onto a ‘little piece of Heaven’: a hotel in the Nevada mountains. Coming back to Chicago to whisk his girlfriend (Dorothy Hart) off to join him, however, proves to be a mistake: his former boss is killed and Reagan’s framed for the deed. Now, both the cops and the gangsters are after him - and he’s after the real killer.

Before he became infamous for low-budget ‘horror’ films, William Castle was directing enjoyable B-movie winners like Undertow. This is the third film of his in this genre I have seen, and the third I’ve liked. Castle makes good use of location, starting with Reno (I’m always surprised when gambling or resort cities have districts that look ‘normal’, like New York or Los Angeles) and ending with Chicago. There are some tense moments that are effective.

Brady, somewhat resembling a later generation’s Ray Liotta, is a sympathetic hero, giving his character a suitably light-hearted optimism at the beginning, and a confusion just as fitting later on. The other actors are largely unknown but, as can be the case with the many forgotten small-timers, give good performances.

Peggy Dow plays the perhaps obligatory woman to whom the hunted protagonist turns for help. Interestingly, she was in nine films in three years, then retired upon marrying an Oklahoma oil tycoon, and devoted much of her life thereafter to philanthropy. The only other familiar name is Rock Hudson’s, though here it’s spelled ‘Roc’ (like the mythical bird; he was wise to change it). He has a bit part, though it’s his first credited role.

What is particularly attractive is the story and the script. It’s rare that clever detective work comes into play in lower-grade film noir, but the sharp wits of Reagan’s childhood pal turned cop (Bruce Bennett) are impressive. This leads to an exciting conclusion with a satisfying climax. As well, it’s good to see that the effects of a beating and a bullet wound cannot be shrugged off by every hero in an old movie.

Undertow is not excellent by any means but is nonetheless a fine little film noir with good pacing, direction, acting and writing. (Even so, a rewarding field of study by film-buffs might be the number of crime movies or thrillers that have titles with nothing to do with the story. The closest this one comes to any kind of under-tow is showing Lake Michigan.)