User reviews

Though the script is B-grade, the terrific cast and cinematography make "Mystery Street" a fun movie to watch. The story lacks depth and substantive twists, and the fractured plot suggests a weak structure. Focus oscillates back and forth among a number of characters. As a result, viewers come away with a sense that the film is an ensemble piece when in fact it isn't.

Jan Sterling is well cast as Vivian, a young, blonde hussy who is in trouble with the wrong people. The great Elsa Lanchester provides grotesque comic relief as the dithering but nervy Mrs. Smerrling, Vivian's smarmy, slithery landlady who's very fond of money. And Ricardo Montalban is surprisingly good as Morales, a novice Boston detective trying to solve a murder. Part of the plot provides a good account of then-current forensic science, as Morales pieces together detailed biological clues.

Gorgeous B&W photography makes this film quite atmospheric. Off-kilter angles in some scenes, shadows, silhouettes, a forced perspective, along with Gothic set decoration render interesting visuals. I especially liked those scenes that contain mostly blackness punctuated with bits of light. The look and feel is very 1940s, with scenes at a seedy rooming house, a tawdry bar called the Grass Skirt, and sleazy music to match.

The main reason I chose to watch this film is because of the mystery genre and the casting of wonderful Elsa Lanchester. The "mystery" was a tad disappointing, but Elsa was sheer delight.

"Mystery Street" contains a story that is acceptable if not first rate. But the cast and B&W noir visuals are terrific, making this an above-average film, one I would recommend.

This film gets some notoriety because it introduced audiences to forensic science long before "Quincy" and "CSI" became hit shows on television. But don't be misled: forensic science is only a part of this film; it is not like watching a CSI episode. It's mainly simply a crime story where we meet a bunch of characters responsible for a killing that took place.

I thought the leading characters, played by Ricardo Montalban and Bruce Bennett, were upstaged by a couple of ladies, namely Elsa Lanchester and Jan Sterling, although the latter is killed off quickly. Too bad; I always found Sterling a fascinating actress and someone well-suited for film noir. Don't get me wrong: Montalban is a solid actor, a lot more than the "Love Boat" guy people remember him for. The same goes for Bennett, but neither has a lot of spark in here. By the way, if you liked Montalban in this kind of movie, check out "Border Incident," a noir he starred in the previous year.

This particular story won't keep on edge because we know early on who is the murderer. Like a "Columbo" TV episode, the fun is seeing how the cops figure it out. "Lt. Morales" (Montalban) gets valuable help from "Dr. McAdoo" (Bennett) is piecing the case together.

It's "Mrs. Smerling" (Lanchester) who is the most fun to watch in this film. I think most viewers would agree with that.

The movie certainly gives a lot of favorable publicity to the Harvard Medical School. I remember watching this and thinking the school must have bankrolled the movie, it's gets so much positive air time.

Finally, it's nice to see this on DVD. If it hadn't been included in this "Film Nor Classics collection Vol. 4" set I probably never would have seen this film. The transfer is fine, highlighting the wonderful black and white cinematography we film noir fans so enjoy. Kudos to photographer John Alton and director John Sturges for that. Alton was behind the camera on a number of beautifully-shot film noirs of the late '40s

See it for the Boston locations, for an early gritty performance by Montalban before he became a Latin heartthrob joke, for the intricate plot, vivid characterizations and snappy editing, but see it most of all for the extraordinary cinematography of John Alton. What he does with composition, deep focus and lighting is amazing. That he often does it on locations where he did not have the control of a soundstage is astonishing.

This is an unusually-well-photographed detective film, starring Ricardo Montalban as a handsome and improbable young Boston detective. It has a first-rate villain, an interesting investigational format, some very good actors in minor parts and very fine B/W production values. The script was by Leonard Spigelglass, Sydney Boehm and Richard Brooks with first-rate direction by John Sturges. Rudolph G. Kopp did the music, Edwin Willis the sets with Ralph S. Hurst, Cedric Gibbons and Gabriel Scognamillo the art direction and John Alton the beautiful cinematography. In the unusually large cast besides Montalban as Pete Morales were Sally Forrest, Marshall Thompson, Elsa Lanchester, Edmon Ryan as the villain, Bruce Bennet as a forensics professor, Betsy Blair, Jan Sterling and many others. The storyline is actually fairly simple. A "B" girl being told to get lost by her rich married boyfriend has to hijack a car driven by a second man to get from Boston to Cape Cod. Months later, she turns up as a skeleton near Cape Cod. Working from clues with a forensics professor, Morales tries to free the innocent motorist she had hijacked from suspicion, prevent another killing and catch the guilty man. This is a very attractive and well-mounted production; Forrest is somewhat wasted as a housewife; but many people, Lanchester and Ryan especially, have small to large telling parts in this very good narrative. Not a great film but far-above-average in every respect.

Mystery Street (1950)

There are so many charming and sharply seen moments in this movie, and a plot that's strong and curious, you wonder why it doesn't quite pull together and zoom. Director John Sturges is neither a legend nor as slouch, one of those really competent directors who made some pretty famous films. "Mystery Street" might be revealing as to what makes a Sturges film what it is.

I mean, there's the Mexican-American lead male, Ricardo Montalban, who is far more believable than, say, Humphrey Bogart. But we prefer Bogart? Maybe because Montalban is so everyday, not a star, just wonderfully convincing as one of us. (He has a great line, probably added just for him, about being fully an American even though his family has only been in the country for less than a hundred years.) The story starts with a real bang, and with the crisp, edgy acting of Jan Sterling, and a couple of fast twists. It never gets dull, even if it levels out (it makes a potential mistake by letting us know fairly early on who the killer is, and then doesn't make this killer much of the plot until the very end). And there are other great roles, particularly the landlady, played by the incomparable Elsa Lanchester.

And check out the locale--not L.A., not even New York, but Boston area location shooting. And some great field work on Cape Cod. The whole feel of the movie is just outside the usual stuff, you know, the escape to the Mexican border or up into the California mountains, it makes it worth watching just for that. The photography is not extroverted, but it's really smart, tightly seen stuff, by John Alton, a Hollywood Veteran who later did the "Big Combo" and "Lonelyhearts."

Most of us don't watch films for all the insider stuff, or even just to salivate over the photography, as I tend to do, so we are back to the functional if not quite riveting story, held up by a handful of great performances. Better than CSI.

The somewhat generic title "Mystery Street" offers no real clue as to what is contained therein, and belies the fact that this film exhibits some very contemporary themes and devices. It is partnered with "Act of Violence" on a "film noir" DVD which offers an excellent evening of entertainment from two lesser-known movies of that genre.

Ricardo Montalban plays a Portuguese-American police detective trying to piece together the clues left behind by a skeleton found buried in the sand dunes near Hyannis, Massachusetts. The proceedings are a definite precursor to TV's "C.S.I." and similar series devoted to police forensics and procedures, and a crime lab run by Bruce Bennett at Harvard University features prominently. It's no secret to the audience who the skeletal remains are, but it is for earnest, hardworking Montalban to discover for himself.

In the process, the youthful Montalban interacts with several potential suspects and witnesses, all the while treating us to his special brand of Latin charisma that made him so popular with female audiences. He's in fine form, confident and looking great in a trench coat and fedora, although sometimes his accent gets a tad in the way.

The stellar supporting cast includes fabulous Elsa Lanchester as an avaricious and corrupt landlady who soon finds herself in over her head. Her expert dramatics are priceless, and she is allowed ample screen time to flesh-out a unique character who is both compelling and repulsive. Next mention should go to beautiful Jan Sterling in a pivotal role of a cynical but desperate dance hall girl looking to strike it rich. Marshall Thompson and Sally Forrest appear as a young married couple with their share of problems and more than a few secrets. The rest of the cast is filled with great little cameo performances, most with one scene each in rapid-fire succession.

So fans of classic police drama will find much to enjoy in "Mystery Street," a movie which certainly foreshadows current trends in that genre, and gives fine actors a great showcase for their talent.

**** out of *****

Mystery Street is a police procedural film noir mystery directed by John Sturges with cinematography by legendary lensman John Alton. It stars Ricardo Montalban, Sally Forrest, Bruce Bennett, Elsa Lanchester, Marshall Thompson & Jan Sterling. It's shot on location in Boston and Cape Cod with both Harvard Medical School in Roxbury, Massachusetts and Harvard University, Cambridge, Massachusetts, also featured.

Tho a bit too aware of the vogue for semi-documentary stylings, Mystery Street is a solid mystery thriller that is expertly shot and acted with subtlety by the cast. The plot sees Sterling's blonde "bar worker" shot and killed on the roadside by a cloaked in darkness assailant. The police, led by Montalban's Hispanic detective, Pete Morales, think they have their man when it emerges that she was seen leaving the Grass Skirt bar with a drunk Henry Shanway (Thompson). However, aided by Dr. McAdoo at Harvard Medical School (Bennett), Morales starts to unravel the mystery and identity of the killer.

Not the classic film noir piece that some DVD marketers want you to believe it is (strip away Alton's brilliant shades and shadow work and it's just a forensic based who done it), the film however triumphs on account of its wrong man premise and the interesting characters woven into the plot (Lanchester walks away with the movie as a devious and batty landlady). The procedural aspect of the story is given weight by the forensic angle used (the CSI film noir tag that comes with the film is an apt one), while some social awareness is deftly slotted in via Morales' immigrant background.

Good writing, visually impressive and paced with no little skill, Mystery Street is recommended to the mystery thriller fan. 7/10

The blackmail scam has been done ad nauseam but not quite like actress Jan Sterling who plays Vivian Heldon the sexpot who seemed to have too many dates until her last scheme went sideways on her. She ends up as the murder victim. The poor sap who was last seen with Vivian (the victim) alive was Henry Shanway (played by Marshall Thompson) who just happened to be at the wrong place, and at the wrong time. Henry happened to be seen in the company of the murder victim Vivian Heldon leaving a bar. Vivian was reported missing six months earlier by another boarder who resided in the same rooming house where Vivian was known to use the landlord's downstair hallway phone regularly to call her male companions.

As this film was released in 1950 I was more than impressed with the manner in which the lead detective Peter Moralas (played by a young looking Ricardo Montalban) teamed up with Harvard University doctor/scientist named Dr. McAdoo (played by Bruce Bennett. We are witness to one of the first times that the use of forensic science is used in the murder investigation process within a film.

In 1950, this new forensic procedure(s) must have been quite impressive to the general movie audience witnessing it for the very first time. The new police investigative procedures used must have also been even more scarier for any yet to be discovered and unknown murderers. Murderers who had yet to be captured in 1950 were most likely perspiring quite heavily after watching how the detective and scientist had teamed up and meticulously gathered scientific evidence. Their evidence was used to determine who the murdered person was, whose bones were discovered buried in the sand by the evening tide after washing ashore, how she had died exactly, and by what type of weapon.

I also liked that unlike many of the crime TV series of the era and that have been released over the past five (5) decades, in this film, the lead detective Peter Moralas who was eager to make an arrest based on the existing evidence leads to an innocent man being arrested and tried for the murder. The film has excellent depth and the audience can see how Detective Moralas may have prematurely come to his conclusion on the murderer but both his conscience and his most qualified medical/scientist Dr. McAdoo convince him to keep digging just in case someone else is guilty and is covering up who the actual murderer may be.

The film is a very good crime/drama/mystery with good acting and an intriguing plot filled with sex, greed, suspicion, blackmail, assault, and of course the earliest signs of how forensic science has assisted in determining the W5, who, what, why, when and where of a murder victim.

This is a movie well worth seeing.

"Mystery Street" (1950) is an odd title to find on commercial DVD. True, it's an "A"-feature from M-G-M, but it's what we in the trade used to call "a double bill movie." In other words, it's a film that had little selling power and needed strong support, preferably from another "A" attraction. Its New York showcase was the Palace where it ran a pre-set week supporting a live vaudeville bill. The cast list is as long as your arm, but the leads – Ricardo Montalban, Sally Forrest (top-billed, despite her small role), Bruce Bennett (giving a rather off-hand performance), Elsa Lanchester (at her best!), and the well-cast Marshall Thompson – hardly qualify as box office draws. The movie's one memorable portrait comes from Jan Sterling, who is featured in the trailer, but not by name. Connoisseurs will also enjoy an excellent study by Betsy Blair as an unwilling witness. For DVD sales, the major selling point is that it's a film noir – and photographed by master of the genre, John Alton. Actual on-location lensing adds to the undeniable mood of suspense and helps paper over some really gaping holes in the plot.

Ricardo Montalban is a police detective, Lt. Morales, who thinks he's caught a murderer in "Mystery Street," a 1950 noir-ish B with an excellent cast that includes Elsa Lanchester, Sally Forrest, Bruce Bennett, Jan Sterling and Marshall Thompson. The murder victim is played by Jan Sterling. Desperate to get to someone at the Cape, she picks up a guy at the bar where she works and maneuvers her way into his car, taking it to the Cape. Once he sobers up, she drives off without him. She meets the man she insisted on seeing, and he kills her.

By the time her body is found, she's nothing but bones. Morales gets help from a forensics expert at Harvard Medical School, Dr. McAdoo (Bruce Bennett) who describes the woman. Eventually this leads to the Thompson character, Henry Shanway, and Montalban believes he's got his man. As Grace Shanway, Henry's wife, Sally Forrest portrays the desperation of the situation, her grief over losing a baby, and her belief that her husband didn't kill anyone - but her doubt over whether or not he slept with the victim.

This is a highly interesting film with some wonderful Boston and Harvard location shots and good performances. Today, with technology, forensics has highly evolved, so it was fascinating to see Dr. McAdoo put the case together with 1950 knowledge.

As Morales, Ricardo Montalban is very young and handsome - in fact, a hunk - and effective in his role. When one of the victim's old boyfriends smirks at the fact that he's Hispanic, while his own family seems to have come over on the Mayflower, Morales stands up to him, sure of himself. Bennett is his usually solid self, and Jan Sterling had this type of role locked up in the '50s. The showy performance is that of Elsa Lanchester as the victim's landlady, who is blackmailing the real murderer. She's fantastic as a blowzy, nosy woman who obstructs the investigation.

Underrated film, very enjoyable.

A simple, clear plot that doesn't interfere with the power of the personal stories within. In its day it would've been shocking for showing the murder, and the discovery of the body. Good acting from a young Montalban.

RICARDO MONTALBAN is thoroughly convincing as a detective who has to solve a baffling murder when a woman (JAN STERLING) disappears suddenly in Cape Cod. Turns out she was a prostitute, so there's a long list of possible suspects, the chief one being an innocent man (MARSHALL THOMPSON) who is wrongly accused of the crime.

BRUCE BENNETT is effective as a professor at Harvard Medical School who is able to obtain some clues from the skeletal remains washed up on the beach. SALLY FORREST is fine as the accused man's wife who never believes he could have committed the crime but isn't sure about his infidelity. And ELSA LANCHESTER just about walks off with any scene she's in as a batty landlady who turns out to be too greedy for her own good.

With its shadowy, low-key lighting and film noir atmosphere, it's a fast-moving story well paced by John Sturgess who keeps the tale taut and tense enough throughout, only slowing a little toward the ending.

Well worth watching, a surprisingly noirish melodrama full of gritty moments not usually found in the glossier sort of films MGM was more famous for.

Accurately described by many as "C.S.I. style noir", the mystery-procedural "Mystery Street" is cracking entertainment for devotees of the noir genre. It's also ahead of its time for its approach to solving a case of murder. It bears some of the trademarks of the genre, such as the extremely moody and effective black & white lighting by John Alton.

Ever charming Ricardo Montalban stars as Boston detective Pete Morales, working an interesting case. A skeleton is found buried under beach sand, and Morales must first find out who the person is. So he calls upon Harvard forensic specialist Dr. McAdoo (Bruce Bennett), who determines that the person was a woman named Vivian Heldon (Jan Sterling), who as we saw from the prologue, met a bad end while desperately trying to get in touch with a particular man.

"Mystery Street" is quotable and enjoyable, and snappily paced. It gets points for its casting of Montalban in the lead role, and he's highly watchable as our hero. It also gives fine showcases to its supporting cast: Bennett, a fun Elsa Lanchester in an amusing turn as an eccentric landlady, Marshall Thompson as an unfortunate sap who falls under suspicion due to his circumstances, Sally Forrest as the saps' agitated wife, Edmon Ryan as an upper class type, and Betsy Blair as an associate of the murder victim. Lanchester ends up walking away with the film.

John Sturges directed, and he's in fine form, working from a script by Sydney Boehm and Richard Brooks. This is the kind of story where savvy viewers pretty much figure it all out early on, and thus wait for our hero to play catch-up. At least, he's a reasonably smart guy, if somewhat stubbornly fixated on his red herring, so one doesn't much mind.

Well made and engrossing for an hour and a half.

Eight out of 10.

John Sturges' taut, tense thriller combines a documentary style (including location shooting in Boston) with intense performances, striking photography, and a fresh-for-its-time approach to its murder mystery plot. When floozy Vivian Heldon (Jan Sterling as the anti-Judy Holliday :-) hijacks grieving father Henry Shanway's (Marshall Thompson) car to go shake down James Harkley (Edmon Ryan), the rich father of her baby-in-progress, she's next seen as a skeleton washed up on a Hyannis beach. Lt. Pete Moralas (Ricardo Montalban) enlists the help of Harvard forensic criminologist Dr. McAdoo (an avuncular yet no-nonsense Bruce Bennett), and the results are as riveting as a good episode of one of the "CSI" series. I liked the way the investigation and forensic evidence rang true while the story (Leonard Spigelgrass got an Oscar nomination) kept me on the edge of my seat with twists and turns, including a monkey wrench thrown into the works by the late Vivian's blackmail-minded landlady, Mrs. Smerrling (a delightfully sly Elsa Lanchester). The details about the effect that the wrongly-accused Henry Shanway's incarceration has on his wife Grace and their finances were movingly and believably rendered. I found myself empathizing and thinking, "Man, why didn't you stay with Grace in the hospital when your baby died, instead of going off in your misery to get drunk at 'The Grass Skirt'? Sheesh, you think you're the only one mourning?!" The performances are uniformly excellent, although I was particularly pleasantly surprised by Montalban. Having grown up watching Montalban in relatively lighthearted fare like TV's FANTASY ISLAND, I was impressed at how good he was as tough, cynical Pete, the kind of cop who thinks a suspect is guilty until proved innocent. Even when I was annoyed with Pete for refusing to believe Grace when she insists that Henry's innocent, I could feel his frustration when he realizes that, after all his hard investigative work, his airtight case against the accused man isn't so airtight after all. There's also a great moment when the smug Harkley notices Pete's accent (smoothly explained away as Pete being from the Portuguese district) and starts trying to pull rank on Pete, class-wise. There are even some witty moments, like when Pete and his partner end up walking all over Harvard Square trying to find out where the heck the department of legal forensics is. This all-but-neglected post-war film noir gem turns up on Turner Classic Movies from time to time, and it's well worth watching for in the TV listings!

MYSTERY HOUSE is a solid police work drama --- with an authentic feel, due partially to the on-location filming, but also because of the rock solid storytelling.

Storytelling? Remember when movies used to have scripts, and tell stories from the beginning, to the middle, to the end. We don't get many like that in 2007. This movie's fine police and lab work reminds us of the excellence of pre-CSI movies and how the smart ones amongst us have figured out that CSI cheats the audience with their phony nonsense, meaningless computer images --- and all we really get is to see how beautiful Kathryn looks this week and whether her hair is pinned up or let down (I'm heavy into pinned-up and nude ears, thanks).

MYSTERY HOUSE is double featured now on DVD with ACT OF VIOLENCE. Two fine MGM movies for your $1.50 rental.

First of all .... ELLLLLLLSSSSSAAAAAAAAAAA!!!!!!!!!!!!!!!!!! If you're an Elsa Lanchester fan, you've got to see this movie. Although she is fourth in the billing, I'd say she's on screen second in amount of time only to Ricardo Montalban. And, she plays her character wonderfully: a scheming, not-so-nice landlady! ELSA ROCKS!

Small aside: Thank goodness for Tivo's "wish list" feature and Turner Classic Movies! This movie came up during my Elsa Lanchester wish list search. Otherwise, I might never have seen it.

OK, back to the movie: I recorded it because of Elsa, and for that reason only. I was pleasantly surprised that I actually enjoyed the movie. It's a murder mystery, and Ricardo Montalban plays a young lieutenant trying to find the murderer. For 1950, I thought the detail of forensic information they went into was pretty good ... CSI fans might laugh or find it charmingly quaint, but I don't recall any other "noir" type of films that I've seen from this era talk about forensic details to the extent that this film does.

I won't spoil the movie, but there are two scenes I'd like to comment on:

1) While Ricardo Montalban is searching the office of a snobby Cape Cod blue blood, the blue blood (Mr. Harkley) says to him, "The Harkleys have been here since before this land became known as the United States. I can tell by your accent that you've been here less than one generation." (or words to that effect). RM shoots him a great look, then has a great parting shot when he leaves Mr. Harkley's office.

2) VERY BRIEFLY, say 60 seconds at the most, Ricardo Montalban is working out by himself in a squash or handball court. A very yummy shot if, like me, you are only familiar with the older "Kahn" (Star Trek) or "Fantasy Island" Ricardo Montalban. Rrrrowwwr!

Summary: Good movie. Good story. Good acting. ELLLLLSSSSSSAAAAAAA!!!!!!! I recommend seeing it if you can.

(Sadly, I just checked Amazon and I don't see this movie as being available for sale on either DVD or VHS. Scan your Turner Classic Movie listings for this. I'm sure they'll play it again. Or plug it into your wish list if you have a Tivo. And if you don't have a Tivo then get one! (No, I'm not an employee of Tivo nor a shareholder! Just a huge Tivo fan!))

My rating = 8/10