Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Solemplex To me, this movie is perfection.

Console best movie i've ever seen.

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

mark.waltz A powerful industrialist has spent more time making millions than making friends, and thinking that he is dying proposes to a hard-working nurse (Lynn Merrick) so he can do something good with his fortune. In spite of being engaged to the idealistic Rhys Williams, she agrees, destroying her chance of happiness in the process. She ends up taking care of him in a remote seaside lighthouse, and the question arises, how long does it really take a dying man to die? What starts off slow suddenly becomes intriguing, adding a Gothic twist to the mystery. Tom Kennedy (brother of the slow-burning Edgar) is the only person who is in contact with them, that is until Williams pays a surprise visit and Dix creates an ominous warning involving a chess game. Is there a murder plot afoot, or is the whistler really in charge of the chess board?The always hysterical Miverva Urecal has a magnificent cameo as an obnoxious woman trying to buy flowers that have already been sold. Once again, the aging Dix is paired with a much younger woman, but unlike Lon Chaney Jr. in the "Inner Sanctum" series, it isn't as morbid. Dix, one of the major matinée idols of the early 1930's, is still dashing, if dangerous, and twists and turns in the story never stop. "B" melodrama at its best with a great final shot concerning Merrick.

BaronBl00d Cheaply made entry into the Whistler series of films produced in the 1940s and directed with skill by soon-to-be showman/horror director extraordanaire William Castle. This is one of Castle's earlier films and you can see his burgeoning skills as a director - especially in the third act of this film. The story here concerns a wealthy industrialist taking time from his job and identity to make himself better though time is against him. The doctors tell him he is sick because of a lack of friends. He therefore gets some friends - and then makes a business agreement with a pretty nurse to marry him for six months(what time he has been told he has allotted) and then she upon his death will never want for nothing financially. Well, she had a fiancée and the story then moves to a weird love triangle in a lighthouse that has been turned into living quarters. This film has quite a few obvious flaws. For starters, the acting is very poor. Richard Dix who starred in most of the films in this series is at best bland. His range of emotion wouldn't cast a blip on a radar of any magnitude. He is overall acceptable but nothing grand to be sure. His fellow actors don't fair any better - in fact - much worse with the exception of Rhys Williams who plays the affable Ernie. Williams has screen presence and acting ability and innate charm for the camera. He works. Pity the rest do not. Lynn Merrick is okay as the mean-spirited, nasty, avaricious beauty that makes the deal with Dix only to regret it later. Merrick can be seen in some scenes looking at the camera early on in the film as can many of the smaller role actors. Castle apparently does not have much to work with here and it shows. Nonetheless, the film is short and does move quickly. The end is fairly inventive and this is certainly a watchable film at the very least.

Neil Doyle RICHARD DIX was nearing the end of his career in "The Whistler" series and this one was made just four years before his untimely death from heart attack. He plays a rich industrialist who takes the advice of his doctors and seeks relaxation away from the pressures of work which are killing him.LYNN MERRICK is a blonde nurse who takes an interest in the strangely quiet man. She's in love with a young doctor but gives in to the idea of marrying Dix (at his suggestion) so that when he dies within a few months, she would be a rich woman inheriting all of his wealth. She presents the plan to her fiancé (JAMES CARDWELL) but he rejects it flatly and she goes ahead with her plan to marry Dix for his money.What happens after that is what makes the film interesting, since the plot is anything but predictable. Suffice it to say that Cardwell returns to the lighthouse where Merrick is living her married life to Dix, and the plot thickens as a murder plan develops that goes awry.Interesting "Whistler" story with the loneliness theme nicely played out amid the lone atmosphere of a Maine lighthouse.Summing up: Intriguing and better than average entry in this series.

dougdoepke One of the best of the offbeat series. About 15 or 20 minutes into the screenplay and we still can't be sure what direction the story will take or how it will turn out. We're being set up for something, but without the usual conventions, it's hard to know what. In fact, this is one of the most unusual plot turn-arounds of that period. No doubt, a little programmer like this could get away with a lot more than a higher profile project. That's why there's more movie gold to be found under the 40's radar screen than on it.Richard Dix is perfectly cast as the burned-out magnate looking for a new lease on life after years of cut-throat competition at the top. In fact he looks like he's at tether's end until he meets the sweet blonde nurse. ( Prophetically, the alcoholic Dix would die a few short years later). However, the chummy stroll with cabbie Rhys Williams along poverty row is rather overdone, while the roomful of cheerful clinic patients smacks of pure Hollywood pretense. On the other hand, the converted lighthouse amounts to an inspired bit of "mise-en-scene", with a moonlit seascape that stretches into a glimpse of eternity and a perfect backdrop for the events that follow. I don't know if the writers intended the screenplay as a cynical commentary on friendship among the poor and those who serve them, but it certainly looks that way. The irony isn't played up, but it's still there. Also, note how the closing shot amounts to a spooky warning that in such matters, no one gets off scot free. Then too, if there's a moral to the story, I suggest something like never messing with a guy who has battled his way to the top of the business dog pile. Anyhow, it's an intriguing little 60 minutes, more than worthy of that shadowy figure of fate and master of graveyard commentary, the Whistler.