This is one of those noir films that is salvaged from ignominy by the fine work of actors in minor roles. Rod Cameron, the male lead does a workmanlike job, but leading lady Vera Ralston is almost unwatchable. The script calls for a traumatized woman, but she gives us a helpless and annoying whiner. This would have been a much better film had she been replaced by a Marie Windsor, Caroline Jones, or Jane Randolph. Unfortunately, Ralston was married to the the boss of Republic Pictures, so she managed to mess up a lot of movies before she retired.
Fortunately there are several good character actors here including Louis Jean Heydt as police captain Andy Hampton, Mike Mazurki as the lovesick bartender Rak, Jesslyn Fax as the snoopy old lady, and Gerald Milton & Richard Kaplan as the quarrelsome hit men. Its not The Blue Dahlia, but I'd give this film a 6.5 on a scale of ten.
9 Reviews
The Title Gives it Away!
bsmith555217 April 2018
Warning: Spoilers
"The Man Who Died Twice" was a late Republic Pictures film Noire starring Rod Cameron and the infamous Vera Hruba Ralston. The film's title removes any mystery surrounding the murder of T. J. Brennan (Don Megowan) at the beginning of the story.
Anyway, T.J. Brennan is believed to have perished in an over the cliff car accident. His widow Lynn (Ralston) is distraught. She witnesses the murders of two narcotics agents then goes into shock. Brennan's brother Bill (Cameron), who is a cop from Kansas City, arrives on the scene. He is seconded to the L.A. Police Force to aid in the solving of the mysteries.
The cops discover a cache of heroin hidden in a statue in the Brennan apartment. They replace the drug with a simple powder, replace the statue and wait to see who tries to pick it up. Meanwhile, the Chicago "syndicate" sends two thugs, Hart (Gerald Milton) and Santoni( Richard Kartan) to retrieve the drugs which T.J. had tried to abscond with. Santoni murders the snoopy old informer Sally Hemphill (Jesslyn Fax) who had been assisting the police.
Suddenly T.J. appears and tries to take off with the statue but.....................................................................................
This film was one of the last to be released by Republic Pictures which went under in 1959. It was ably directed by Republic veterasn Joe Kane who directed just about every film made by the studio since the 40s. I couldn't help but notice the strong resemblance between Rod Cameron and Don Megowan who play and look like brothers. As far as I know, this was their only film together. The best that can be said about Vera Ralston is that as an actress, she was a good figure skater.
Anyway, T.J. Brennan is believed to have perished in an over the cliff car accident. His widow Lynn (Ralston) is distraught. She witnesses the murders of two narcotics agents then goes into shock. Brennan's brother Bill (Cameron), who is a cop from Kansas City, arrives on the scene. He is seconded to the L.A. Police Force to aid in the solving of the mysteries.
The cops discover a cache of heroin hidden in a statue in the Brennan apartment. They replace the drug with a simple powder, replace the statue and wait to see who tries to pick it up. Meanwhile, the Chicago "syndicate" sends two thugs, Hart (Gerald Milton) and Santoni( Richard Kartan) to retrieve the drugs which T.J. had tried to abscond with. Santoni murders the snoopy old informer Sally Hemphill (Jesslyn Fax) who had been assisting the police.
Suddenly T.J. appears and tries to take off with the statue but.....................................................................................
This film was one of the last to be released by Republic Pictures which went under in 1959. It was ably directed by Republic veterasn Joe Kane who directed just about every film made by the studio since the 40s. I couldn't help but notice the strong resemblance between Rod Cameron and Don Megowan who play and look like brothers. As far as I know, this was their only film together. The best that can be said about Vera Ralston is that as an actress, she was a good figure skater.
Far better than I expected.
planktonrules1 November 2023
"The Man Who Died Twice" is a film that, according to IMDB, sat on the shelf for many months after it was completed. Often, this means that the studio had little faith in the movie and it is a stinker. But in this case I suspect that it's because the studio was in serious financial trouble and soon was sold. Less than a decade later, it closed completely.
The film is a crime film but not one I'd categorize as film noir exactly. It does have some very tough and nasty crooks...but not the same dialog and camera work as you'd expect in noir.
Bill (Rod Cameron) has arrived to see his brother...only to learn he's dead as well as several others. The police soon approach him and ask him to help with their investigation, as Bill is himself a policeman from another part of the country. He agrees...and much of it is to determine whether or not the brother's wife (Vera Ralston) is involved as well in the drug trade.
The film has one big deficit...Vera Ralston. She was the studio chief's girlfriend (and later wife) and he insisted in starring her in many films...even though she really couldn't act and had a very thick accent. Here, her accent seems odd...especially since she's a lounge singer.
Apart from Ralston, however, the film is great. The script is very tough and features an interesting duo of psychopathic enforcers. It also has a few nice twists that keep it interesting. Overall, a good film...even with Ralston.
The film is a crime film but not one I'd categorize as film noir exactly. It does have some very tough and nasty crooks...but not the same dialog and camera work as you'd expect in noir.
Bill (Rod Cameron) has arrived to see his brother...only to learn he's dead as well as several others. The police soon approach him and ask him to help with their investigation, as Bill is himself a policeman from another part of the country. He agrees...and much of it is to determine whether or not the brother's wife (Vera Ralston) is involved as well in the drug trade.
The film has one big deficit...Vera Ralston. She was the studio chief's girlfriend (and later wife) and he insisted in starring her in many films...even though she really couldn't act and had a very thick accent. Here, her accent seems odd...especially since she's a lounge singer.
Apart from Ralston, however, the film is great. The script is very tough and features an interesting duo of psychopathic enforcers. It also has a few nice twists that keep it interesting. Overall, a good film...even with Ralston.
a unusual Joseph Kane movie
searchanddestroy-120 January 2008
Warning: Spoilers
The first time I saw this movie, I did not believe Joseph Kane was the director. Kane who has shot only westerns - and some adventures or war films - all over the years. I don't forget, of course, "Hoodlum Empire", a good thriller, neither "Notorious Mr Monks" and "Accused of murder".
But it was a good surprise for me. Mike Mazurki and Gerald Milton play interesting characters who remind William Conrad and Charles Mc Graw in the superb Robert Siodmak classic: "The Killers". Two hired killers who always "work" binomial, and take care of cats in their hotel room...And speaking of a duo of killers in search of a doll full of heroine, don't you remember Don Siegel's THE LINEUP? Strange isn't it? The Siegel's film was written by Stirling Siliphant and this one Richard Sarafian.
Rod Cameron play also perhaps the only character on non westerner of his career.
Vera Ralston is OF COURSE in the run. Republic Picture...
Not a great but good little thriller.
But it was a good surprise for me. Mike Mazurki and Gerald Milton play interesting characters who remind William Conrad and Charles Mc Graw in the superb Robert Siodmak classic: "The Killers". Two hired killers who always "work" binomial, and take care of cats in their hotel room...And speaking of a duo of killers in search of a doll full of heroine, don't you remember Don Siegel's THE LINEUP? Strange isn't it? The Siegel's film was written by Stirling Siliphant and this one Richard Sarafian.
Rod Cameron play also perhaps the only character on non westerner of his career.
Vera Ralston is OF COURSE in the run. Republic Picture...
Not a great but good little thriller.
AKA "How to spoil your own movie"
myriamlenys25 February 2024
Warning: Spoilers
Now that his shady brother has died in a car accident, a man finally gets to meet his sister-in-law. Gradually it becomes clear that the new widow is a pretty decent citizen. The nightclub she inherited, however, reflects the vicious nature of its late owner. Behind the scenes there's a lot going on that does not tolerate public scrutiny...
"The man who died twice" is a crime movie dealing with drug peddling, gang warfare and hit murder. Let's start with the obvious : the title itself is a major spoiler. Consequently we're dealing with one of the great moments in self-sabotage. Almost any alternative title would have been better : "The Mexican souvenir", "Trouble in the Blue Swan", "Widow in trouble",...
The movie bends over backwards in order to establish that the widow of the nightclub owner is a nice, decent person. There's nothing wrong with creating a heroine instead of a anti-heroine, but after a while the viewer gets to wonder at the character's persistent cluelessness. Is it possible for a woman to spend long hours in the company of a man, both as a spouse and as a collaborator, without noticing his essential viciousness ? And how or why did she never notice any of his dangerous associates ?
Apart from that, "The man who died twice" is worth a watch. The protagonists seem somewhat bland but several of the supporting characters are interesting, such as a hard-bitten barman secretly in love with the boss's wife. There's also a mild-mannered old lady who works as a tipster for the police. (Admire the ease with which the old dear picks locks, too.)
In conclusion : do give it a chance, there are many, many worse crime movies to be found.
"The man who died twice" is a crime movie dealing with drug peddling, gang warfare and hit murder. Let's start with the obvious : the title itself is a major spoiler. Consequently we're dealing with one of the great moments in self-sabotage. Almost any alternative title would have been better : "The Mexican souvenir", "Trouble in the Blue Swan", "Widow in trouble",...
The movie bends over backwards in order to establish that the widow of the nightclub owner is a nice, decent person. There's nothing wrong with creating a heroine instead of a anti-heroine, but after a while the viewer gets to wonder at the character's persistent cluelessness. Is it possible for a woman to spend long hours in the company of a man, both as a spouse and as a collaborator, without noticing his essential viciousness ? And how or why did she never notice any of his dangerous associates ?
Apart from that, "The man who died twice" is worth a watch. The protagonists seem somewhat bland but several of the supporting characters are interesting, such as a hard-bitten barman secretly in love with the boss's wife. There's also a mild-mannered old lady who works as a tipster for the police. (Admire the ease with which the old dear picks locks, too.)
In conclusion : do give it a chance, there are many, many worse crime movies to be found.
Now Who Could That Be?
boblipton18 June 2020
Rod Cameron comes to town to discover his brother is dead and his widow, Vera Hruba Ralston, is being consoled by Mike Mazurki. The local cops tell him his brother was involved in the local drug trade, so Cameron agrees to stay on and help them crack the case.
It's Miss Ralston's last film appearance. Not entirely coincidentally, Herbert J. Yates was tossed out of his chairmanship of Republic Pictures. Nominally it was because of the strain of a shrinking market for B pictures and his unwillingness to release the Republic library to television. Miss Ralston almost certainly had a great deal to do with it. He tried to make her a star, a second Sonja Heinie, and had married her in 1952, but as an actor, she was a good ice skater, with a thick accent, no acting ability, and a middle-aged appearance. The fact that Republic spent a lot of money on her vehicles, and they didn't appeal to the public may have had something to do with the disappearance of husband and wife from the Republic lot.
And so might some foolish decisions in writing. While Cameron and the supporting cast, including Louis Jean Heydt, are pretty good, the big plot twist is given away by the title.
It's Miss Ralston's last film appearance. Not entirely coincidentally, Herbert J. Yates was tossed out of his chairmanship of Republic Pictures. Nominally it was because of the strain of a shrinking market for B pictures and his unwillingness to release the Republic library to television. Miss Ralston almost certainly had a great deal to do with it. He tried to make her a star, a second Sonja Heinie, and had married her in 1952, but as an actor, she was a good ice skater, with a thick accent, no acting ability, and a middle-aged appearance. The fact that Republic spent a lot of money on her vehicles, and they didn't appeal to the public may have had something to do with the disappearance of husband and wife from the Republic lot.
And so might some foolish decisions in writing. While Cameron and the supporting cast, including Louis Jean Heydt, are pretty good, the big plot twist is given away by the title.
End of the line for the queen of the lot, and I doubt her exit shed tears from the critics.
mark.waltz27 December 2017
Warning: Spoilers
I give Vera Hruba Ralston credit for hanging onto her career even though her films were pretty much overlooked and underviewed. She lasted nearly two decades as the favorite of Republic studio head Herbert J. Yates, pretty much the Norma Shearer to his Irving Thalberg, or basically the Marion Davies to his William Randolph Hearst. Hers was a career guided by the boss and for 17 years, misguided as a film star. I've been fascinated by her for a while now, finding more of her rare films. She's a wooden actress, rather bland looking yet there's a fascinating aura about her that doesn't excuse her lack of talent, but it's difficult to take your eyes off of her.
Not many actors lose their accent when they sing, but Ralston does. I've seen her sing in a few films, and it never fails to hear her slow speaking accent and then hear a non accented singing voice. Ralston is a sudden widow who witnessed a murder involving narcotic agents and has a breakdown. She's quizzed by tough talking Rod Cameron, protected by dumb as nails (but no one I'd want to mess with) Mike Mazurki, and possibly hiding something. Ralston doesn't have the ability to express anything really, so you have to go along with the idea that she's either a complete innocent or totally bad to the bone and able to hide her feelings simply by closing off her mind to the meaning of everything she says or does. I give the writers credit for playing around this lack of ability, and it doesn't hurt that the black and white photography and editing are above average. What's unfortunate is the slow pacing and often stagnant acting by minor actors.
Not many actors lose their accent when they sing, but Ralston does. I've seen her sing in a few films, and it never fails to hear her slow speaking accent and then hear a non accented singing voice. Ralston is a sudden widow who witnessed a murder involving narcotic agents and has a breakdown. She's quizzed by tough talking Rod Cameron, protected by dumb as nails (but no one I'd want to mess with) Mike Mazurki, and possibly hiding something. Ralston doesn't have the ability to express anything really, so you have to go along with the idea that she's either a complete innocent or totally bad to the bone and able to hide her feelings simply by closing off her mind to the meaning of everything she says or does. I give the writers credit for playing around this lack of ability, and it doesn't hurt that the black and white photography and editing are above average. What's unfortunate is the slow pacing and often stagnant acting by minor actors.
Good noir from Republic veterans
southfar20 September 2005
This is an important movie in regards to the history of Republic Pictures. Starting in 1957, Republic technically didn't make films anymore, but released or distributed films made by independent companies. But only one of these independent companies was made up of personnel from the original Republic Pictures, Ventura Productions. The Man Who Died Twice was the last film of seven or eight made by Ventura (December 1957), released by Republic in June 1958. So technically, this was the last real Republic Production, with Republic regulars at the helm: Joseph Kane, director, Jack Marta, director of photography, Bob Mark, makeup supervision, Rudy Ralston, Producer, etc. The two top stars were Republic stalwarts, Rod Cameron and Vera Ralston. It has a good story, is paced well, as usual, by Kane (named by Gene Autry to be the John Ford of B movies) and photographed beautifully in black and white and Republic's wide screen process, Naturama, by Marta. It is Vera Ralston's last film and Kane's last film for Republic. He moved on to directing westerns on TV and then in the mid 60s did some directing and 2nd unit directing for films. Republic collapsed in mid 1959, more valuable for the land its studio was sitting on and for its film library. Do your best to try and see the 70 minute film. It has a great supporting cast headed by Mike Mazurki (who appeared with Vera and John Wayne in 1945's Dakota from Republic, also directed by Kane).
Just another flick from L. A.
kalbimassey20 June 2022
There is no shortage of action at the outset of 'The Man who Died Twice', even if the clapped out jalopy in which T. J. (Don Megowan) plunges to his death, is clearly different from the sleek, modern car he's seen driving moments earlier. Maybe Republic's budget didn't stretch beyond wrecking anything other than a wreck.
Immediately afterwards, a man falls from T. J.'s balcony, shots are fired, whilst his widow (Vera Ralston) falls into a swoon and passes out. Ralston is oblivious to the reality that a cache of highly sought after drugs is stashed in her apartment. In fact she drifts through most of the movie ensconced in her own bubble of blissful oblivion, answering 'I don't know' to every question. Had anyone ventured to prod, 'Do you know ANYTHING?' she would still have responded with, 'I don't know!'
There is nothing intrinsically WRONG with 'The Man who Died Twice', but as the movie continues, there is a seen it, heard it, bought the tee-shirt vibe to much of the narrative. The drugs, which certain people will stop at nothing to lay their mitts on, the looming threat of......The Syndicate (yawn), T. J.'s brother (Rod Cameron), who just happens to be a cop, appearing on the scene and his target, two sluggish, slack-stomached heavies, who resort to venting violence against an elderly lady and her pet cat, to prove that they haven't lost their touch.
The movie muddles and meanders to the distinct slosh of water being trodden. Like grizzled prog-rockers digging in for some extensive soloing, which may have been ground breaking at the turn of the '70's, but sounds tedious and over indulgent today, film noir, like almost anything else, had its time, place and sell-by date. Thanks to astute directors and imaginative writers, the genre provided some of cinema's greatest moments, over more years than we had any right to expect, but as the 1950's drew to a close, there was barely a dead horse left to flog.
Immediately afterwards, a man falls from T. J.'s balcony, shots are fired, whilst his widow (Vera Ralston) falls into a swoon and passes out. Ralston is oblivious to the reality that a cache of highly sought after drugs is stashed in her apartment. In fact she drifts through most of the movie ensconced in her own bubble of blissful oblivion, answering 'I don't know' to every question. Had anyone ventured to prod, 'Do you know ANYTHING?' she would still have responded with, 'I don't know!'
There is nothing intrinsically WRONG with 'The Man who Died Twice', but as the movie continues, there is a seen it, heard it, bought the tee-shirt vibe to much of the narrative. The drugs, which certain people will stop at nothing to lay their mitts on, the looming threat of......The Syndicate (yawn), T. J.'s brother (Rod Cameron), who just happens to be a cop, appearing on the scene and his target, two sluggish, slack-stomached heavies, who resort to venting violence against an elderly lady and her pet cat, to prove that they haven't lost their touch.
The movie muddles and meanders to the distinct slosh of water being trodden. Like grizzled prog-rockers digging in for some extensive soloing, which may have been ground breaking at the turn of the '70's, but sounds tedious and over indulgent today, film noir, like almost anything else, had its time, place and sell-by date. Thanks to astute directors and imaginative writers, the genre provided some of cinema's greatest moments, over more years than we had any right to expect, but as the 1950's drew to a close, there was barely a dead horse left to flog.
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