The Gay Falcon

Lawrence
Flight n’ Gal

The Gay Falcon
USA 1941
Directed by Irving Reis
RKO/Warner Archive DVD Region 1

George Sanders made five movies in 1941 alone, which was pretty much par for the course in Hollywood of old. The first one he shot that year was his final appearance as Simon Templar in The Saint In Palm Springs (reviewed here). The series continued without him but Sanders’ final 1941 movie was the first of what was a 13 film series based on a Michael Arlen character called The Falcon... who was very much like The Saint, although he was more like a private detective. Indeed, the creator of The Saint, Leslie Charteris, who wasn’t best mates with RKO, tried to sue the studio as he saw the character as a cheap imitation of him (the results of the dispute have never been made public, as far as I can see). Hugh Sinclair carried on in the role of Templar in the series of movies based on The Saint character.

Now, it’s often said that The Falcon film series was 16 films long but that’s actually not true. The last three movies are based on another writer’s novels of a character also called The Falcon, although, for some reason, the series was still credited up as being Arlen’s character, even though it’s clearly not the same person. This would explain why the two Warner Archive DVD collections only cover the first 13 films. That being said, Sanders only played The Falcon in the first three and, in an interesting move... oh no... I’ll get to that interesting swerve in the series when I get to the third movie.

Anyway, Sanders was now heading up The Falcon series and, in a move to give audiences a more ‘saintly experience’, they also cast Wendy Barrie as his long suffering fiancé who is trying to get him to give up crime solving and other women. Barrie had already starred opposite Sanders in three separate Simon Templar movies, although she played different characters in each. The Falcon also has a side kick in these films, much like The Saint would often have a ‘stooge’ helping him out. In this film it’s Allen Jenkins playing ex-thief Jonathan G. 'Goldie' Locke. And another element which is interchangeable with The Saint films was the common practice of having a police inspector who gets things wrong and eventually accepting the lead character’s help to solve the crime... in this film it’s Arthur Shields as Inspector Mike Waldeck.

In the books, the lead character is actually called Gay Falcon but, in the first film here, he’s Gay Laurence (which changed to Gay Lawrence for the next two) and The Falcon is more of an alias (again, as in The Saint films). So yeah, if you watch The Gay Falcon it is pretty much like watching another Saint sequel, to be honest, although the screenplay on this one doesn’t quite have the same, well, written sparkling wit of Sanders’ former role.

That being said, it’s an entertaining enough watch although it’s a little light on action. I can’t remember if the series gets more action oriented as it goes on because, the last time I watched these would have been in the early 1980s on BBC2 at 5.40pm or 6.20pm on weekday evenings, when the re-runs of the Charlie Chan and The Saint films had run their course. However, light on action doesn’t mean it’s light on murders (there are three of them) and there’s lots of running around as both The Falcon and Goldie are both under suspicion from the police at various points in the movie.

Sanders pays it cool and his new female assistant (Nina Vale, for this one movie only) helps him get by the police while at the same time bringing down the wrath of his fiance, who inadvertently gets him into more trouble as the story goes on. Although I suspected the real villain of the movie, who is revealed in a twist near the end of the picture, I didn’t really see it coming until I’d remembered at the end of the picture, just before the reveal, that I’d considered this a possibility at the start of the movie... so that’s kind of good. The camera work is quite good too, with people being framed in the 4:3 ratio as and when they are needed in the shot and almost making up ‘too perfect’ photographic compositions on cue. There’s a lovely sequence, for example, where Sanders and Vale have broken into a hotel room and are waiting on the ledge outside the windows for the returning owner of the apartment to leave again. When that happens, Sanders re-enters the room but we stay outside as Sanders is perfectly framed in a middle slice of the screen with square petitioned window frames creating the space for the action on either side. There’s some quite nice stuff in the movie, for sure.

Paul Sawtell provides some appropriate but not too striking music here and the pace, even without much action, is fairly fast and, like I said, it’s an okay entry into the series which would run for quite a few installments. Each story ends with a kind of cliffhanger preview which may or may not dovetail into the next film in the series. I don’t believe the throwaway end scene of a lady in distress is picked up in the next one but I’ll let you know soon enough. I’ll be working my way through these pictures, revisiting them now after many decades and I’ll bring the reviews to the blog as I work my way through them. I loved these as a teenager and I’m sure I’ll be spellbound by them now. So I’ll make A Date With The Falcon again sometime soon.