Two Smart People (1946)

That was an excellent one.

Good story, Not enough for a whole film

Excellent, a Must See

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Somewhere during the formation of the Film Noir cult somebody decided to include Two Smart People in the Genre and that has hobbled it's reputation ever since. Sure, it is Directed by Jules Dassin and had two of the great stars of Noir, the indispensable LLoyd Nolan and John Hodiak, who had teamed in the great Noir Somewhere In The Night just prior to this film. But none of that means it MUST be Noir and it isn't, nor was it intended to be.What it is is a bit of a charming Romantic Fantasy inside of a Morality Play wrapped in a minor Crime Drama. In feel it very much reminds me of Remember The Night. Lots of smiles, no belly laughs. There is a small bit of violence, but other than that it's a fantasy.Hodiak is great as a charming rogue with a heart of gold and penchants for fraud and gastronomics. He is perfect for the role and plays it with great amusement. Someone else had said that this is the nadir of Lucille Ball's days at MGM and I couldn't disagree more...if they had been giving her roles like this right along she would have been a major Star, something which would have to wait for television. Nolan steals the picture which is to be expected from one of the very best character actors Hollywood has ever been fortunate to have.Lloyd Corrigan is in it but if you blink you miss him, Elisha Cook is the real bad guy and is terrible, which makes it so much better when he gets his. Solid supporting cast including Hugo Haas who has a nice turn and Vladimir Sokoloff playing yet another ethnic part...this time he's French! I liked it, glad I saw it and it's going to be on my favs list...I was lucky enough to recognize it for what it is early in and settled down to enjoy it. Wouldn't make a bad double bill come Christmas with Remember The Night. If you want Noir. look elsewhere.

Bob Simms (Lloyd Nolan) accompanies fraudster Ace (John Hodiak) to prison via Mexico and New Orleans. They share their journey with Ricki (Lucille Ball), another fraudster who is up to tricks of her own. Ricki and Ace fall in love but fellow crook Fly (Elisha Cook Jnr) is tracking her and wants something from her. The film builds to it's climax at Mardi Gras..........everyone gets what they deserve....This film is quite boring. Nothing really happens and the whole Mardi Gras sequence drags on and on and isn't at all interesting. It provides one good moment when Ricki steals the cook book behind Fly's back. The cast are OK but Elisha Cook Jnr is as awful as always - he is a very unconvincing tough guy. More like a pip-squeek. The love affair between Ace and Ricki is also a bit suspect. The film is watchable and ticks by but when it finishes, it leaves you with a feeling of absolutely nothing. The film is OK if a little dull. No need to see it again.

Anyone coming to Jules Dassin's Two Smart People in expectation of the hard-core noir of his Brute Force, The Naked City, Thieves' Highway or Night and the City will have a surprise in store. Here, Dassin betrays his continental roots in fabricating a light if poignant romance between two con-artists. And though the movie has a noir veneer, it's less suggestive of Fritz Lang or Robert Siodmak than of Ernst Lubitch – specifically the Lubitch of Trouble in Paradise, another elegant romance sparked between larcenous lovers. The pairing here is between Lucille Ball, on the lam from a job she pulled in Hot Springs, Arkansas, and John Hodiak, being escorted back from the west coast to finish a stint at Sing Sing by cop Lloyd Nolan. While trying to sabotage one another's swindles, Ball and Hodiak fall in love, and she joins him on his train journey to that castle on the Hudson. Also in play are half a million in bonds which are tucked away in a fancy cookbook (all ortolans and truffles) that Hodiak, a bit of a gourmet, keeps with him for bedside reading. And the wild card is nasty Elisha Cook, Jr., one of Ball's former partners in crime, who wants the bonds for himself.Dassin keeps a delicate balance between the intrigue and the romance, but the romance wins out (and who's complaining). Hodiak takes to the lighter, more debonair style with greater conviction than he does the harder-boiled roles he played in Somewhere in the Night and Desert Fury that same year. Ball, in a role that is neither too broad (like The Fuller Brush Girl or Miss Grant Takes Richmond) nor too melodramatic (like The Big Street), delivers a subtle and winning performance – and she looks smashing.For his finale, Dassin whisks us to New Orleans during Mardi Gras, granting Cook a flamboyant exit. It's a gaudy set-piece crowded with costumed revelers that raises the spirits before they grow subdued at the surprisingly bittersweet ending. If Two Smart People can be counted as part of the noir cycle (and it often is), it's possibly its most effervescent title. If not, who cares? It remains an offbeat delight all its own.

This obscure B-movie was Jules Dassin's last film before embarking on a series of classic noir and crime films--and actually it's the first of his crime films and shows his interest in developing the genre. As another critic reports in a previous post, this film is NOT a comedy (as Maltin's book describes it) about two con artists mixed up "in art forgery." Actually, it's a crime/road movie about stolen bonds, co-written by the creator of "The Saint." True, Lucille Ball co-stars, and she and John Hodiak meet cute in a TROUBLE IN PARADISE manner, blowing each other's cons with a mutual pigeon. But from the first shot, Dassin reveals his interest in crimeLike Dassin's forgettable comedy A LETTER FOR EVIE, this film is shot by the great Karl Freund, in decline from his silent heyday and not yet arrived at his groundbreaking I LOVE LUCY three-camera period. He gives us expressionist shots aplenty, and such privileged moments as a pan shot with window reflection from outside a train, a cactus-by-moonlight scene, and a chiaroscuro moment when Ball is menaced by Elisha Cook Jr lighting a match. The presence of Cook, Lloyd Nolan, and Hugo Haas (on their way to being entrenched noir icons) also counts for something. The road trip plot (on a train) allows stops in Mexico and New Orleans. The last third (set at Mardi Gras) is suspenseful and colorful, with Cook in fool's motley.In conclusion, if this 1946 film doesn't hold up as well as Dassin's later, truer noirs, we can still see it's an early step in the development of that genre.