TrueJoshNight Truly Dreadful Film

Cleveronix A different way of telling a story

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Lucia Ayala It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

boscofl "Riffraff" is a surprisingly well done film noir. It is expertly directed by Ted Tetzlaff and contains a veritable Who's Who of noir cinema: Pat O'Brien, Walter Slezak, Anne Jeffreys, and Jerome Cowan. The plot is fairly routine - a rogues gallery of shady types (or riff-raff) hunting down a valuable item (in this case a map of oil wells) and committing any crime necessary to obtain it. The film boasts a memorable opening sequence devoid of dialogue that sets the tone for the film: a stormy Peruvian airport, a ramshackle aircraft, sketchy-looking passengers, and a man prematurely abandoning an airborn plane by taking the express route to the terra firma. The surviving passenger shows up in Panama with the skydiver's briefcase and immediately hires local PI Dan Hammer (O'Brien, sporting a name that only exists in fiction) to protect him. Unbeknownst to Hammer, the man clips a map onto a bamboo changing curtain and departs. The remainder of the film concerns the quest for this map and how many times the actors can walk past it or be framed by the camera with it in the backround as it hides in plain site. Tetzlaff does a wondeful job of shooting this film; from the brilliant opening sequence to the final fadeout. Many of these RKO noirs prove to be an endurance test to get through despite relatively brief running times but "Riffraff" held my attention with the visuals and performances of a stellar cast. Portly, balding, and painfully over-the-hill Pat O'Brien nevertheless turns in a surpsrisingly virile performance particularly near the end of the picture where he dukes it out with several tough guys and runs down a moving car by dashing through dark alleys & disturbing couples necking in parked cars. Of course he is brilliant at mouthing his lines both laconically and with his trademark staccato elocution. The script isn't particularly great but his delivery makes it seem like snappy dialogue. Despite his appearance the actor's performance is great and holds the film together. Walter Slezak seems to be reprising his role of the treacherous Incza from RKO's "Cornered" although sans moustache. He never runs out of flowery ways to make his point and conveys menace when flanked by his bodyguards. There is a priceless scene of him sitting in the window of Hammer's office, sketching the street outside, while his thugs work Hammer over with the obligatory nosey PI beating. He must be a fast illustrator because Hammer doesn't look too much the worse for wear when the goons finish roughing him up. In fact, after a good night's sleep, he's back to barging around and doing a little threatening of his own the next morning. Anne Jeffreys fills the part of the heroine in a one-note role as the love interest; unfortunately she has no femme fatale duties. However, she does get to wrestle around with Slezak in a late scene and is the first to discover the elusive map. Percy Kilbride adds levity as O'Brien's personal taxi driver and they exchange some curious banter about marriage to each other. Fortunately O'Brien moves on to Miss Jeffreys and Kilbride heads to the hills with Marjorie Main. Jerome Cowan adds a little Warner Brothers flavor with his typical role as a wormy executive who meets a deserved fate. A neat little film, "Riffraff" passes a pleasant 80 minutes, delivers a memorable opening sequence, and demonstrates the hazards of wearing a tie if you're a private investigator.

Spikeopath Riffraff (AKA: erm, Riff-Raff) is directed by Ted Tetzlaff and written by Martin Rackin. It stars Pat O'Brien, Anne Jeffreys, Walter Slezak and Percy Kilbride. Music is by Roy Webb and cinematography by George Diskant.Something of a little cracker is this one, a pic for those with a discernible palate of Private Investigator based film noir. Don't be misled into believing others when they write that it's minor noir, or borderline of such, it quite simply is a noir pic from what was a stellar year for that film making style.Story is based in Panama and finds P.I. Dan Hammer (O'Brien) involved in the search for a map that shows priceless oil concessions. Sure enough there's others who desperately want the map, so in comes murder, beatings and a sultry babe.Pic opens with the shot of a reptile at nighttime, sitting on a rock in the pouring rain, it probably would have been better to use a snake in the shot, but it certainly is a most appealing and appropriate film opening. From there the piece is a veritable feast of super photography and punchy dialogue. OK, so the plot story is standard fare, but the makers never let it drag things down, there's always a quip or a punch thrown to keep things perky.Tetzlaff was himself a fine cinematographer (see the previous year's Notorious), and here armed with Diskant (They Live By Night/On Dangerous Ground/The Narrow Margin) in his corner the director makes hay. The plot set-up sequences in an aeroplane are moody visual supreme, and often when a scene calls for it - such as when Hammer is getting tortured in his office by Sleazak and his thugs - the noir style comes to the fore. There's wooden slats everywhere in this, wonderful!Initially one can be forgiven for being sceptical at a portly 48 year old O'Brien playing a tough P.I., but he pulls it off, sharp of tongue and he throws a good punch does Pat. Jeffreys (Dillinger) slinks in for some initial sultry suspicion, and does well, even getting involved in the key fight scene, Kilbride is wonderfully wry as Hammer's unofficial aide, and Sleazak does what he does best, Weasle time!Capping it off is the MacGuffin map, whose whereabouts at reveal is cheeky and something Hitch would have been proud of. Riffraff is a winner and well worth seeking out. 7/10

dougdoepke In Panama, a private detective is hired to find a missing oil well map.I expect this little gem got lost in the 1947 crowd. Too bad, because the opening scene is a wordless tour-de-force. Catch that ominous looking lizard in the first shot, indicating the sinister events to follow. Then there's the rainstorm that sounds like the sky is exploding around the airfield. And finally, scope out the open cargo hatch at 20,000 feet, where you see three people but no parachutes. It's a tough act to follow, and truth be told, the story then settles into an entertaining, if unremarkable, private-eye adventure.Nonetheless, there are so many nice touches lifting the narrative—the lazy guard dog, the down-and-outers needing help, Pop's belching old cab. But most of all, there's the stylish visuals, courtesy director Tetzlaff and cameraman Diskant. The compositions are especially impressive since they're artistic without being showy. And, of course, there's the great RKO team of D'Agostino and Silvera collaborating on the noirish sets.I also like O'Brien in the lead. He sure doesn't look like the standard Hollywood dick. He's about 20-years too old, 20-pounds too heavy, and more than a little balding. Still and all, he can fire off the tough-guy banter with the best and make you believe it. Of course, having the lovely Maxine (Jeffries) fall headlong for him remains something of a stretch, but that's just Hollywood being Hollywood.Talk about hiding in plain sight-- the map trick has stayed with me over the years. Speaking of the unusual, catch that brawl at movie's end. One thing for sure, I want Jeffries in my corner from now on. She doesn't just stand around while the hero gets bashed, even when a tricky bookcase bounces back at her.Anyhow, it's a really good little RKO programmer and a good reason to keep prospecting these unheralded oldies for their hidden gold.

Jed from Toronto I thought I'd seen just about all of the great, dark thrillers made in the late 40s - this little gem was a great surprise! It is well scripted, well acted, fast paced and commands the viewers attention. Walter Slezak is wonderful in his role as villain: fat, sweaty and greedy - what worked for Sidney Greenstreet works equally as well for Slezak. Slezak, who usually played villains and cads, had the knack of winning an audience's affection. Pat O'Brien is excellent in the role, if a little long-in-the-tooth to be courting a 23 year old Anne Jeffrys. Percy Kilbride, of Pa Kettle fame, is fun in his role as a placid yet cunning taxi driver, whose taxi would have been considered ancient, even in 1947. Definitely worth watching if you are a fan of this genre. As an aside, it's great to see that Anne Jeffreys is still very active in acting, and still very beautiful - nearly 60 years after this film was made.