Whispering City (1947)

To me, this movie is perfection.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

The movie really just wants to entertain people.

Intriguing thriller in Quebec involving all kinds of suspense tricks including old murders and new, fake murders and phantoms, haunting memories and romance, suicide and a poor brilliant pianist working on his debut under the terror of his intolerably intolerant wife. The intrigue is difficult to follow as it develops all the time with surprising turns into upside down turbulence, but it nevertheless sticks together and adds up in the end. If you regard the piano concerto ('the Quebec concerto') as the hub around which everything evolves, you'll find it a rather masterful composition of intrigue, cinematography and music - in brief, nothing is actually missing in this intricately spiced stew of a very complicated but exotic repast. It's even worth watching again for enjoying the details.

"Whispering City" is an Eagle-Lion production that was made in Quebec. It's the story of an evil lawyer (dare I be redundant?) who is also quite mentally imbalanced. One of his supposed friends and clients is in trouble--his wife is also very imbalanced and has been making accusations that the husband has been trying to kill her. But the husband is innocent--and his life has been hell due to this crazy lady's erratic behaviors and hateful disposition. He goes to this lawyer to talk about this--not knowing that the lawyer (Paul Lukas) has an incredibly evil plan. And, when the unstable wife kills herself, the lawyer hides all the evidence that would exonerate the husband and makes the man think perhaps he DID kill his wife! Then, the lawyer springs his trap--he announces that he will get his 'friend' acquitted--provided the friend first murder someone for him! Can this innocent man be driven to kill? And, does he even realize he's not guilty, as the lawyer got him very drunk and has been trying to convince him that he really has already killed? And, if the innocent man goes to the authorities, what will happen? After all, the evidence does point to him being guilty.Despite having an overly complicated plot (and I've omitted a lot of it in the above paragraph), this is a dandy thriller. Despite its humble origins, the film is very well acted, tense and exciting. However, it's very likely you won't find it unless you download it for free at archive.org, as the film is quite obscure and in the public domain.

This was the last film directed by the Russian director Fedor Ozep (i.e., Fyodor Otsep), who had been the husband of Anna Sten. (He had directed THE BROTHERS KARAMAZOV in 1931, Stefan Zweig's AMOK in 1934, etc.) As a Quebec production set in Quebec City and at the spectacular Montmorency Falls, this film has a strange history, because it was first shot in French in the same year under the title of LA FORTERESSE, and then re-shot in English with a different cast. The English version is 98 minutes long and the French version 99 minutes long (perhaps because the French speak less fast?) Two French Canadian actresses carried over to the new cast, though in minor roles. In this second version, Paul Lukas does an excellent job of portraying a suave art-lover, music-lover, and cultural philanthropist who is secretly a psychopathic killer. Pert young girl reporter Mary Roberts (Marie Roberts in the French version), played by the charming Mary Anderson, who had been discovered previously by Hitchcock and appeared in LIFEBOAT, does an excellent job of beguiling us and everyone else with her girlish smile as she tries to expose Lukas as a murderer. Lukas's musical protégé of the moment is a handsome young pianist and composer played by Helmut Dantine, who is a creative but tortured soul married to a hysterical wife, who is played by Joy Lafleur. (In LA FORTERESSE, this part had been played by Mimi D'Estee, who in the English language film is given a small part of a dying woman, which, however, she brings off with style.) All of these people do a very good job, and the direction and atmosphere are excellent. The film is notable for the use of a modern piano concerto by the Canadian composer Morris C. David, and with the piano played by Neil Chotem. So classical music and orchestras figure largely in the story. Canada was not known for its feature films at this time, and Canada in American minds was then thought of as a thin strip of land separating the northern border of the United States from the Arctic Circle, populated largely by polar bears and Esquimaux. So this was an early attempt by an infant Canadian film industry to assert itself, to prove that Canadians actually existed and even had their own cities, even though it was all done with a borrowed Russian exile as a director, a Hungarian exile as the bad guy, a Viennese exile as the good guy, etc. But it works. The Canadians can and should be proud of it. I wonder what the original French language version was like, with largely home talent speaking Quebec dialect. The film has a great deal of intensity and is a genuine film noir, which proves, I suppose that whatever that mysterious substance known as 'noir' really is, it does not freeze at the higher latitudes and can survive the northern climes with its vitality intact.

Female reporter investigates odd goings on in Montreal. Convoluted plot line about deaths that are really murder, suicide that is made to look like murder and numerous other twists and turns require a great deal of attention to help unknot it. I tried to watch this the night before last must too late at night and began to nod off. I tried again while I made it to the end I don't know how I really felt because where some things need to be followed its clear who the villain is from the start. That is not in and of itself a bad thing, when done right, its just that the film seems to treat it as a big secret when its not. As I said I really don't know what I felt about the film. If you want to see Montreal in the winter I'd give the film a shot, beyond that its your own choice. (Leave a comment)