This is a shortish (77 minutes) suspense thriller made for RKO by The Filmakers, the independent production company founded by Ida Lupino and Collier Young. The film was shot in just 18 days in July/August 1951 but delayed by RKO for a year. This followed a pattern given the eccentric behaviour of Howard Hughes as the owner of RKO. On Dangerous Ground, which like this film starred Ida Lupino and Robert Ryan, had similarly been delayed. One suggestion is that Hughes as part of his enthusiastic support for the communist witch hunt of the HUAC years was reluctant to release a film with Ryan whom he saw as a leftist. Lupino, a staunch Democrat managed to avoid trouble but she was friends with many of those hounded as communists. At this point she had directed four films for The Filmakers but she argued for Harry Horner to take the directorial role. Horner was a Czech émigré who had arrived in the US in the mid 1930s with Max Rheinhardt and eventually entered Hollywood as a set designer, winning two Oscars. He’d worked for Lupino as Production Designer on Outrage (1950). Beware, My Lovely was actually his first feature but because of the delayed release, his second feature came out first. It appears that Lupino did actually direct a couple of scenes when Horner’s wife was in hospital.
Beware, My Lovely is an adaptation, by the original writer Mel Dinelli, of his Broadway play ‘The Man’ (1950). The play had begun as a radio drama in 1945 and it saw further radio and stage productions, a short story version in 1949 and later TV drama adaptations. Dinelli was no stranger to suspense thrillers or what would later be termed films noirs. He had worked as a writer on The Spiral Staircase (1946) with Robert Siodmak, The Reckless Moment (1949) with Max Ophüls and House by the River (1950) with Fritz Lang. All three directors were associated with the German film industry of the early 1930s) and all three films are concerned with a house as the location for suspense. All are also associated with film noir. Inevitably perhaps, Beware, My Lovely has been seen as a noir, probably because of the Lupino-Ryan casting, but there are other ways to think about it in genre terms. The film was made mainly on the RKO lot and although the RKO designer Albert D’Agostino is credited, Horner probably had a lot to do with the set and its presentation. It uses part of the house set built for The Magnificent Ambersons (1942). The presentation is also influenced by cinematographer George Diskant who had worked on On Dangerous Ground. (He would also go on to shoot The Bigamist (1953) for Ida Lupino).
The plot of the film is very straightforward. We first meet Howard (Robert Ryan) working as a handyman and clearing up after a job when he discovers the body of a woman – the householder? – stuffed into a closet. Alarmed, he flees the house and skips out of town on a freight train. We realise that the year is 1918 and it is approaching Christmastime in an anonymous town in the South-West. Helen (Ida Lupino), a young war widow, is preparing for the holidays. Her lodger is away for a few days but the house is busy with a group of local children and Helen’s rather snooty teenage niece, Ruth (Barbara Whiting). When the house quietens down, Helen welcomes her new handyman who will start some cleaning tasks. This is Howard arriving for his first day working in the house. There is clearly a nervous tension between the two and we are immediately concerned that Howard is some form of threat to Helen. That’s it really. The interior of the house becomes the sole location and the tension gradually mounts. The film depends on the performances of Ryan and Lupino and how they are presented in the complicated interior space of the house. The combination of the work of Horner, Diskant and the score by Leith Stevens (another of The Filmakers regulars) delivers a powerful narrative. Collier Young who produced the film despite being involved in a divorce from Lupino after only a brief marriage, felt that the film could not use the ending of the original play. He may also have been aware that Hughes probably wouldn’t have accepted it. Lupino’s original choices for a title were ‘At the End of the Day’ and as a second choice ‘The Terror’ but ‘Beware, My Lovely’ was imposed by Hughes with RKO handling all promotion of the film. The ending has been seen as a weakness by some critics but I think the film works well as it is. The action is confined to around ten hours or so with the two leads alone in the house.
I’ve suggested that the relevant genre is not film noir, although there is expressionist camerawork in the house. The narrative is associated with the ‘woman in peril’ or the ‘home invasion’ scenario. But I think that despite the setting thirty years or so earlier, the film is linked to the contemporary social issue dramas of the other films by The Filmakers and especially those directed by Lupino. The Robert Ryan character is clearly mentally ill, perhaps with a form of paranoid schizophrenia. In a way this is linked to his rejection for military service and his sense of a slight to his masculinity. When Ruth makes a brief appearance during the day she mocks him for doing housework like cleaning – not a job for a ‘real man’. Helen is the good-hearted woman sensitive enough to want to help but also terrified. I think we could see this portrayal of mental illness as conveying a plea for understanding matching those concerned with rape, abortion, disability and so on in Lupino’s other films.
The film had a mixed reception but seemingly with more positive than negative responses – although Monthly Film Bulletin in the UK (July 1953) thought it ‘boring and ‘silly’. I couldn’t disagree more, but then I could always watch Lupino and Ryan together. Unfortunately RKO failed to get behind the film properly, tempting Collier Young and Ida Lupino to release The Bigamist themselves – and suffering from a lack of distribution muscle. Beware, My Lovely has been shown in the US on Turner Classic Movies and in the UK on the BBC and, more recently, on Talking Pictures TV. I think it is well worthwhile trying to catch if it comes around.