This seems to be the penultimate of The Falcon franchise, from 1948. About time. It’s Appointment With Murder, featuring John Calvert as Michael Waring, The Falcon. This time the notorious adventurer is working for an insurance company interested in recovering from an $80,000 loss. It runs for 66 minutes, but the plot is unnecessarily intertwined.
The opening shot shows two pairs of shoes, one pair of which is worth noting. I never figured out why women wear these things.
Anyhow, the one in the steeple-jack heels is Lorraine W. Brinckley (Catherine Craig), and she is finishing her walk with shady art dealer Norton Benedict, played by Jack Reitzen. Lorraine is proprietor of Brinckley Art Gallery, and the two examine a valuable painting by Italian artist Andrea Mantegna. Benedict has sold it to Lorraine, and she hands him an envelop with cash. They examine the painting, which appears to be uncatalogued and also wanting a mate, which object is next on her list to acquire.
Switch to Milan, where The Falcon is also after the Mantegna. He deals with painter and art forger Giuseppe Donatti (Peter Brocco), who claims to have painted the reproduction he is trying to sell. Donatti’s shady partner, Martin Minecci (Ben Welden), looks on.
Only, Minecci turns up murdered, and The Falcon returns to America with the painting. After an adventure at customs in New York, he journeys on to Los Angeles, where he barges in on Lorraine, seeking to get the two Mantegna’s together for the insurance company.
The plot becomes too involved. The Falcon takes his painting along with Lorraine’s, and he deposits the pair at a baggage check in the train station. He tears the claim tickets in half, and hands Lorraine half the pair. That way the two of them will need to stick together as they seek to find a buyer for the two Mantegnas. The reason for this is not clear. But Lorraine conspires with Benedict to obtain both paintings.
Somebody, apparently Benedict, sends two thugs to abduct The Falcon, and they take him to a warehouse space and proceed to slap him around in an effort to obtain his half of the claim tickets. The Falcon turns the tables on the thugs and escapes in a blazing gunfight.
Benedict and Lorraine go back to the claim check and convince the clerk to hand over the checked items when shown only the torn halves. But The Falcon has been a step ahead. He has checked a bird cage and a bird and has swapped out half of the new claim tickets for those he purloined from Lorraine.
Now Benedict shows his true self, and he resorts to his trusty pistol, which weapon he apparently used on the unfortunate Sr. Donatti. They go back to The Falcon’s hotel to collect the two paintings, The Falcon alerts the police. The desk clerk gets involved and is killed in an exchange of gunfire. The police arrive and subdue Benedict as he attempts to make an escape with The Falcon as a hostage.
The Falcon returns the two paintings to the insurance company, and he hands a wire recording he has made that will show Benedict’s culpability and also will exonerate Lorraine. And that is very much the plot, though I left out a few details.
What’s wrong with the movie is the whole lot of foolishness put forth as a plot. Here it is.
An Italian count had the two paintings. He claims they were lost in the war (Italy lost). The insurance company paid off on the claim. Now the company wants its money back, because the paintings are being returned to the count. That’s not the way it works. First, this is a war casualty, which claims are typically not covered by insurance policies. Second, The insurance company has the paintings, and they want the count to return the money he was paid. But that’s not the way it works. When an insurer covers a loss, the client gets to keep the money. If the company can recover the loss, then they own the recovered item. It’s up to the insurance company to recover their loss by disposing of the recovered item.
The Falcon is working for the insurance company. Early in the movie he and Lorraine have both paintings. That should have been the end of the movie. Aha! The paintings were stolen. We have them. Call the police. Seize the paintings. Hand them over to the insurance company. The movie is over. For reasons not made clear The Falcon wants to enter into a scheme with Lorraine to pair the two paintings and sell them for more than $80,000. That’s crazy.
The Falcon goes to Milan to meet up with Donatti. He has the other Mantegna, which he claims to have painted himself. How does this painting later turn out to be a real Mantegna?
When The Falcon arrives at Donatti’s studio, there is a gorgeous American model posing. The Falcon makes a dinner date with here. We later see he never keeps the date.
When The Falcon is in Donatti’s studio, Donatti and Minecci endeavor to speak English. They continue to speak English when they are alone without The Falcon.
During the flight back to America, another passenger contrives to slip contraband into The Falcon’s valise. But The Falcon gets wise and turns the smuggler in to the customs agents. This is a pointless side bar to the plot, having nothing to do with the story.
The Falcon slips the hotel clerk a note telling him to alert the police. The clerk phones the police from the back room and then engages Benedict in a gun fight and is killed. Nothing more is said about the poor clerk, whose body lies ever more stiff on the floor while the movie continues toward an end.
It is obvious Lorraine has conspired with the murderous Benedict to double-cross The Falcon, but in the end he absolves her of any complicity, and the two go off together for a night on the town. Yeah, let’s hope he never turns his back on her in the future.
Like I said, the plot is just crazy.