The Clay Pigeon (1949)

Directed by Richard Fleischer; produced by Herman Schlom

Jim Fletcher (Bill Williams) wakes in a hospital to find that he’s about to stand trial for betraying his comrades in a Japanese prisoner-of-war camp, an action resulting in the death of his friend. He can’t remember what had happened, so he flees the hospital and sets out to discover the truth. With the reluctant help of his late friend’s wife (Barbara Hale), who believes him to be a traitor, Fletcher has to outrun the authorities and some mysterious killers to clear his name.

What starts out as a promising film noir - albeit with a premise that was probably well-used even by 1949 - loses its potential as it goes. This is surprising, considering the writing and directing talent involved.

The screenplay is by Carl Foreman, who also wrote High Noon and The Guns of Navarone, and adapted 1950’s Cyrano de Bergerac. The dialogue in The Clay Pigeon is nothing outstanding, but what is disappointing is the story-line. If you can’t guess the villain within seconds of seeing him, you’ve probably never seen another film noir - or crime movie. I kept waiting for the villain’s personal motive to be made clear, or even implied, but this was never forthcoming.

The over-all plan behind the frame put around Fletcher is simplistic, and explained in about a minute and a half in the movie’s dénouement. This was a story that called for a more complicated plot, yet seemed rushed, as if Foreman were apathetic about it, and wanted to get on to other things. The Clay Pigeon was early in his career, it’s true, but it certainly is not like anything that came after. As well, the transition of Hale’s character from suspicious and hateful to sympathetic is too easy and rapid.

Richard Fleischer too is known for some good work, such as 20,000 Leagues Under the Sea, Tora! Tora! Tora! and Soylent Green. He is, perhaps, not considered in the top tier of directors but nonetheless has done better than this. Though The Clay Pigeon was early work for him, as it was for Foreman, he had an atmospheric and equally low budget movie in the same year - Follow Me Quietly - which, though flawed, was more entertaining.

The acting here is good but not exceptional. Williams might come across as benevolent and innocent with his baby-face, but he is able to give a semi-tough guy portrayal. Hale, unfortunately, is not effective as a leading lady, and is better in supporting roles. The two leads were married at the time of this movie, and remained married until Williams’s death. Their son is actor William Katt.

Predictability, lack of imagination and simplistic plotting ruin what might have been a decent crime film, and what could have been saved in The Clay Pigeon is thrown away by lacklustre direction and writing.