User reviews

The Falcon was a character, like The Saint and The Lone Wolf and Boston Blackie, who belonged to the more-American decade of the 1940s. This was the era of individualism in movies, of the private investigator, the lone adventurer, the tough-minded gent who refused to be intimidated by bullies and crime bosses. If the era's screenwriters showed some preoccupation with physical violent potential that led to the denigration of mental toughness in favor of physical courage (during a WWII era), they also produced a few intelligent heroes such as The Falcon. He is a Brit, one who attracts trouble, and women, the way a magnet does iron filings--and who is adept at dealing with both. The part also ably played by his brother George Sanders here is essayed by low-key leading man Tom Conway. The delightful element in this entry in a low-budget fun series is that the producers play the quiet, suave Falcon off Billie", a brassy, talkative and beautiful cabbie entrusted as a role to comedic genius Veda Ann Borg. I find it miraculous that the studio bosses of the time did not notice the potent chemistry between the two characters and make a sequel with Billie as a more streetwise companion to their somewhat-taciturn hero. The other thing that is noteworthy about this story I suggest is that the action which begins at a racetrack with the old 'switched handbag routine" leads to multiple murders at a movie studio; studio-based and later location-based problems with a production headed by Shakespeare-quoting dour John Abbott help to make possible some clever character revelations, and the eventual unraveling of an intricate mystery of motivations, mayhem and secrecies. Among others in the extraordinary "B" film cast are able Sheldon Leonard, lovely Barbara Hale (later of "Perry Mason" TV fame), Rita Corday (aka Paulie Crozet), Konstantine Shayne as a nasty director, Jean Brooks in an intelligent role, and Emory Parnell and Frank Jenks as befuddled policemen.. All are very adequate at doing whatever is asked of them. This is a low-budget production all the way, of course; only localizing it in a movie studio's existing soundstages and sets obscures this fact. The location jaunt is a delight, featuring a swimming pool area and additional zones, and the racetrack sequence is also very ably directed by action-film great Gordon Douglas.. Technical credit should be given to the sound department and to Renie for her fine costumes also. This was in its day a "programmer", a story enlivened by good and by cheap touches of inspiration. But anyone who dares to call it dated needs to look at the post 1972 filmmakers' 99% fizzled blockbusters consisting of inadequate acting, special effects and missed script opportunities, This is the best of the Falcon series, and from my perspective as a writer, that is rather a proud accomplishment in the area of providing entertainment on the cinematic screen.

Poor Tom Conway, he's in Southern California to enjoy himself and take in a few races at Hollywood and all kinds of people come out from his past. First Sheldon Leonard whom the Falcon put away with his testimony who would like to even the score. Secondly his former girlfriend Barbara Hale who's trying to make a fresh start in motion pictures only Leonard won't leave her alone. Two cops Emory Parnell and Frank Jenks are around as well. And where the Falcon goes, murders start happening.

The Falcon In Hollywood is blessed with one undeniable asset who makes any picture better by her presence. The ever brassy and buxom Veda Ann Borg who plays a cabdriver who kind of attachs herself to Conway and while her presence is a mixed blessing in solving the crime, she's always great to hang around. Between her and Iris Adrian they cornered the market on brassy dames when a film called for one.

Two deaths both connected with the filming of a motion picture that John Abbott is producing and Konstantin Shayne is directing happen before the Falcon resolves it. Here's a hint, the plot of this may have been what inspired Mel Brooks to create one of his best films.

Fast paced mystery, surprisingly unpredictable. It's nice to see so many locations in Los Angeles of the mid 1940's. Much of the film gives you studio backlot scenes, and behind the camera context, within a Hollywood soundstage. Even so, the story draws you in, and the characters are believable. The film moves at a good pace, and keeps you guessing. Thoroughly enjoyable.

I was watching this movie on the hangar deck of the USS Yorktown in Ulithi lagoon in the Western Caroline islands in 1945. I remember a scene at a swimming pool. Then a Kamikaze struck the Randolf, an aircraft carrier anchored next to us. The movie was stopped and we went to battle stations. I have tried to locate a copy of this movie so that I could see the ending with no luck.

Back to the city and business as normal (?) for Tom Lawrence aka the Falcon in solving crimes the cops can't [#10/13]. "Hollywood" had a nice sunny feel to it, the War was a million miles away and people wanted to get even further away from it with an escapist movie industry to help.

The Falcon's busy losing at a racetrack but quickly gets mixed up with 2 beautiful women (Hale and Corday) and embroiled in tracking down an apparently stolen handbag. This leads to Sunset Pictures backlots where the body of a murdered man is discovered along with a gallery of suspects. The 2 best things here are the riveting but unfortunately intermittent tour of the RKO studios and props as the Falcon and his wisecracking female taxi driver played by Veda Ann Borg investigate, and the tight intelligent scripting. I wished there'd been much more behind the scenes for an even better picture of the studio. I kept expecting Borg to exclaim "Come up to my place!" – Conway wouldn't have been as backward as Sinatra! John Abbott as the Shakespeare-obsessed studio boss had many amusing scenes, and Emory Parnell effortlessly swapped from baddie in Mexico to goodie in Hollywood. And the story actually made solid sense this time without detracting from the entertainment, you can follow it from first to last, and even though the baddie's identity is pretty obvious from early on it was all logically explained. The searching of dead Ted's apartment has always stuck with me though for the bit where the Falcon and Borg are philosophising about how sad a dead man's room is and the poignant line about if he had been "worrying about tragic things like a broken shoelace" that morning.

Recommended to fans of the genre, not to others. One of my favourite Falcon's, one I've watched again and again and still hope to.

The Falcon films, both with George Sanders and Tom Conway in the lead role, are on the most part very enjoyable. There are some very good ones like the first two Sanders Falcon films and 'The Falcon Strikes Back', though also a few disappointments like 'The Falcon in Danger' and 'The Falcon in Mexico'.

On the most part, 'The Falcon in Hollywood' is very entertaining and one of Conway's better overall Falcon films. Certainly a big improvement over the previous two Falcon films 'Out West' and 'Mexico', both lesser efforts. Not everything works, Cliff Clark and Edward Gargan are missed and while Emory Powell and Frank Jenks are serviceable enough their characters don't have as much impact and their comedy not as interesting.

As a result of having so many people bumped off, it is not hard to figure out very quickly who the perpetrator is, who admittedly I suspected early on. The ending is a little rushed too to a lesser extent, and the start of the film is a tad routine and pedestrian.

However, a lot also does work. The music is lively and haunting enough, and on the most part the production values are slick and atmospheric with particularly nicely done photography. A new director is on board here and there is a very obvious and much-needed energy injected. Further advantages are a very playful script with dialogue that crackles with wit and a mostly absorbing story that is never less than bright, breezy and fun with some suspense and great twists and turns.

Conway gives one of his best performances of the series, performing with suavity and a lot of witty energy. Barbara Hale and Rita Corday are alluring and charming, while brassy and sassy Veda Ann Borg really does liven things up.

In conclusion, very entertaining if flawed and one of the better Conway Falcon films and amongst the top half of the series overall as well. 7/10 Bethany Cox

Tom Conway solves the mystery of a disppearing corpse at a Hollywood studio with the help of taxi driver/stuntwoman Veda Ann Borg.

It's a entertaining entry in the RKO series. It offers the usual assortment of lovely starlets wandering around in skimpy costumes, and the fraying of reality with its studio set up. Look for Bryant Washburn, a major star of the 1910s in a uncredited role, and Chili Williams, "The Polka Dot Girl." She parlayed a World War II pin-up poster into a score of movie roles; one of them included a screen credit! She died in 2003, age 81.

Tom Lawrence (Tom Conway) is on vacation in LA and he's not dealing with any more murder mysteries. Two cops track him down at the race track. They are searching for Louie Buchanan, a criminal from his past. Peggy Callahan insists that she's not Louie's girl although he won't leave her along. Tom is pursuing her and catches a ride with sassy cabbie Billie Atkins (Veda Ann Borg). They follow her to Sunset Pictures.

The Falcon gets a sidekick in this one. I doubt that she's sticking around for any more movies. Her presence does prove the concept. A funny sidekick would really help. It's the snappier comedic interactions and I love her hat. She's basically Short Round. It's all more zippier with a sexy funny sassy babe.

After two entries in the Falcon series where the setting was distracting, they finally get one right. As you might have guessed from the title, the Falcon goes to Hollywood here. They make great use of the RKO backlot and all the behind-the-scenes movie stuff is fun. The supporting cast is full of familiar faces like Sheldon Leonard, Robert Clarke, Emory Parnell, Frank Jenks, Konstantin Shayne, and John Abbott. The obligatory pretty women include Veda Ann Borg, Barbara Hale, Rita Corday, and Jean Brooks. Those last three have appeared in this series before. Tom Conway is as charming as ever and has some great banter with Veda Ann Borg, who plays a cabby anxious to help the Falcon investigate. It's a very entertaining picture, with lots of comedy and a good mystery. And, as I mentioned, the Hollywood stuff is a plus.

This is the tenth of the Falcon series, starring Tom Conway who took the role over from his brother, George Sanders. Both men are debonair and have similar speaking voices, but I've always found Sanders the smoother of the two and enjoyed his Falcon more.

In this one, the Falcon goes on vacation in Hollywood and gets embroiled in a murder in a movie studio. Veda Ann Borg is the Falcon's self-assigned partner and is one of those stereotypical, wise-cracking '40s dames. She livens things up, though. Barbara Hale, who later became the Della Street of my youth, plays an actress.

It's all pretty routine, with a mini-von Sternberg type director, a producer who keeps quoting Shakespeare and is superstitious, and a mysterious "Indian" character who may or may not be involved with a ruby ring found on the dead man. A pleasant enough way to pass the time.

A welcome return to form for the Falcon series -- having run out of ideas for the standard city-based plots, the studio evidently tried putting the Falcon into unaccustomed environments to try to milk a few more scripts out of the formula, and oddly enough it actually tends to work quite well. In these later films ("The Falcon and the Co-Eds", "The Falcon Out West", "The Falcon in Hollywood") the focus seems to swing back onto the actual crime rather than the amiable surrounding tom-foolery, and the comic relief -- being more sparingly employed -- is more successfully funny.

"Hollywood" is in my experience the best of the films mentioned above, with a really quite ingenious plot and some interesting characters. Of course we've all seen "The Producers" now... but the cast of Hollywood 'types' -- from the Germanic martinet director to the playboy leading man, the distrait Shakespearean Englishman, the costume diva, the exotic star with a villa and swimming-pool and the gangster's moll trying to make her big break in the movies -- still has its own charms to offer, not least in watching the film subvert the stereotypes! (There's also a nod to a famous Sherlock Holmes case in there, for the alert.)

Gentleman detective Tom Lawrence , popularly known as the Falcon, takes a holiday in Hollywood, but trouble is not far behind. The intuitive sleuth is soon the centre of a murder mystery. But the main mystery is what happened to the body in the Hollywood studio. There are a few suspects, including a Shakespeare quoting producer.

Another fun entry with the authentic studio ' locations' and its props making a fascinating eye view of the studio system. The debonair Falcon is aided by the taxi lady who adds some comic relief.

In this installment of the Falcon series, Tom Lawrence arrives in Hollywood for a vacation. Like practically every other Falcon vacation, this one is punctuated by a murder and the amateur detective is sucked into determining whodunnit.

It's nice to see the backlot of RKO and seeing how films are made is a rare treat. Because of this you'd think that this would be a decent addition to the Falcon series--with an unusual and engaging plot. However, no matter how hard Tom Conway tries in this film, he's saddled with one of the most annoying and pushy supporting characters from any B-detective series. Early in the film, the Falcon catches a ride with a female cabbie (something not uncommon to find during the war years). While she is pretty and could have been a welcome addition, over time she is just annoying. Why she is allowed to follow the Falcon about and annoy everyone is beyond me--Conway should have just socked her! But because he doesn't, this film ends up being a below par addition to the series.

A great tour of the RKO backlot. Tom Conway suave as ever gives us a turn around the streets of 1940's Hollywood, including a trip to the Hollywood Bowl. Barbara (Della Street) Hale is on hand again as are the fabulous Sheldon Leonard and Robert Clark(I) in his second film role. Veda Ann Borg is brash and funny, Konstantin Shayne mutter Shakespeare with panache, and Jean Brooks(II) adds her charm to an early send up of Edith Head. And take a look at that lovely underrated under used Rita Corday. It all starts at the Hollywood race track, a mad dash around street cars down the Boulevard and ending up at the RKO gate. Prop rooms, prop building, soundstages, costume shop, the RKO stock swimming pool and finally the loft of the soundstage. It's fast, funny and an exceptional tour of a working studio. There is even a charming Arab actor Useff Ali as the "I can play any ethnic" in what is only one of his two film roles. Too bad he didn't have a longer career.

The B pics at RKO had a great family of ensemble players..........Enjoy them.

It's the persistent cabbie "Billie" (Veda Ann Borg) who steals the thunder in this quite entertaining and quickly paced outing for our eponymous sleuth (Tom Conway). He is dragooned into an investigation following a murder at an Hollywood studio and so for the next hour or so we are treated to loads of backstage photography, scantily clad dancers, an increasingly irate producer (John Abbott) and, of course, a diabolical curse of the Maharajah's ring. Is the picture doomed to end up on the outing room floor? It has no director and is rapidly becoming a celluloid albatross! There's a bit more of a story here, with a few realistic suspects and a bit of detail on just how films are made before a denouement that's hardly a shock, but results in a fun chase through the studio lot and a great big Super Trouper! Enjoyable enough afternoon stuff.

Amateur detective Tom Lawrence (Tom Conway) discovers the corpse of an actor on a film set, and gets drawn into the investigation.

This was the first Falcon movie I've seen. It was entertaining enough, and I quite liked Tom Conway. Veda Ann Borg was really annoying as a female taxi-driver, and John Abbott was pretty hammy as a Shakespearean quoting film producer. Barbara Hale (who later played Della Street on Perry Mason) was quite good, and Konstantine Shayne was good as the Erich von Stroheim-like director.

The identity of the murder suspect was pretty easy to guess though. All in all, it was good.

This is the tenth Falcon film. It is one of the most amusing and satisfactory of the series. A new director, Gordon Douglas, came into the series, and injected some much-needed fresh energy. But chiefly, this film is remarkable for the pairing of Tom Conway with a female sidekick, a cabbie named Billie, played to superb comic effect by Veda Ann Borg. The two have a wonderful magic together. The producers had stumbled on a formula here which could have generated several more films of the wise-cracking guy and gal type, similar to the Thin Man series. But they retained neither the girl nor the director in future films, which shows that they were asleep at the wheel by this time. It is true that Veda Ann Borg's character gets a bit annoying after a while, through over-persistence, but that could so easily have been fixed. She and Tom Conway 'clicked' because she was not in the category of wolf's prey, so that he could relate to her as a person rather than as a curved shape (not that she was lacking in that department either, but her personality obliterated her looks entirely). Jean Brooks is there again, in her fourth Falcon film. Her icy demeanour makes her once again a chilling suspect. She always added so much to these films, because she was so convincing as either a villainess or a potential one. This film is extremely remarkable for a detective film of the 1940s in that a very large proportion of the dialogue consists of direct quotations from William Shakespeare, most of it uttered by John Abbott, by origin an Englishman who knew how to say the lines properly (he had appeared in England in 'The Importance of Being Earnest' (1937) and 'Mrs. Miniver' (1942) and was well grounded in the Bard). There is also one witty exchange of Shakespearian lines between Tom Conway and John Abbott. There is a wonderful cameo by an obscure uncredited actor, Chester Clute, as the manager of an apartment building (called a 'hotel' in the IMDb character list, though it was not a hotel in the story). The shots around Los Angeles and the RKO sound stages and lot are also fascinating. This is a real winner for avid Falconers.

Forgettable budget-constrained movie shot mostly on the lot with a lackluster plot. A post-surgery Veda Ann Borg as a wisecracking taxi driver replaces Tom Conway's usual sidekick Edward Brophy. This must have worked better during World War II. Barbara Hale as co-star does a fair job but will be better remembered as Perry Mason's Della Street. See this one only to finish up the series.

Had to give this film 10 stars as , although only an RKO detective series B picture , it is a gem of it's type.

Tom Conway as the Falcon is charming as always. Veda Ann Borg , in a rare featured role , is delightful as his cabbie side-kick ( and looking adorable 5 years after major facial reconstruction following an auto crash ).

A young and beautiful Barbara Hale ( of later Perry Mason fame ) also co-stars . Half of the lines of film producer Dwyer ( played by Martin Abbot ) are quotes from Shakespeare .

The opening features the Hollywood Turf Club racetrack and many of the scenes are set on the RKO backlot ( where the murder takes place ) . There are also some fascinating forties Hollywood street scenes and a sequence at the Los Angeles Coliseum ( opened in 1923 ).

The lighting and cinematography are exceptional , the dialogue clever and the pacing excellent. A beautifully realized studio era genre film .

Falcon in Hollywood, The (1944)

*** (out of 4)

Entertaining entry in RKO's series has The Falcon (Tom Conway) on vacation in Hollywood when a famous actor is murdered. The finger points to various people in the production so The Falcon must sort it all out. This is perhaps the best that I've seen from the series due in large part to a very good supporting cast and a nice little mystery that remains interesting throughout the film. Most of the action takes place on the backlot of a studio so we get all sorts of nice scenes, which work themselves well into the mystery. A lot of Hollywood props are used as gags or evidence and this too adds to the fun. The characters working on the film within the film are all very entertaining. We get your typical crazy German director, the playboy, a jealous wannabe star and a producer who's always going around quoting Shakespeare. Conway is also very energetic here and delivers his best performance in the role since The Falcon's Brother.

It was George Sanders . It occurs when Tom Conway is at the front gate of the movie studio . A group are entering past Tom when on the outside of the group , right in front of the camera walking from left to right is George . I don't even think Tom knew right away that his brother was there .