Like any self-respecting noir, this one chooses to open in a grungy gas station bathroom with a hero (Herbert Rudley) disheveled, hobbling, and covered with grime. We can gather he’s been through hell. Better yet, Decoy begins at the end of the story with murder!
He hobbles past a gas station attendant, stands at the side of the road to hitch a ride to San Fransisco. Mind you, this is without saying a single word. Upon arriving, he wanders into a hotel. He takes the elevator up, pushes open the front door, sees an attractive woman packing and proceeds to fill her with lead! What’s even stranger is the cop who follows close at hand as if he knows exactly what’s about to happen. He plods in to find the shooter dead and the lady dying.
Here’s this pretty dame, Margot Shelby (Jean Gillie), in the arms of a hardboiled flat foot (Sheldon Leonard) recounting her indiscretions on her deathbed. Really all she’s doing is helping him pick up the stray pieces he already knew but for the audience, it’s all news. To get a line on the story, we must start back with an incarcerated gangster named Frankie Ollins (Robert Armstrong).
He is in line for the gas chamber and Margot has long been his girl. She assuages him, saying they’re lining up money to get him out of his jam — but she also is concerned about security — he has promised to keep her sitting pretty. And he has the resources to do it with $400,000 waiting out there for her somewhere. He just needs to give the word. We get the sense foul play might be a central component of our story.
From thenceforward she goes to work efficiently. She exerts her feminine charms on a local clinician who also regularly gives his services to the local prison. You see, he is pegged to do the autopsy on Frankie’s body just to make sure everything’s on the level. Except Margot’s got his head spinning — most of it happens off camera — but we believe he’s fallen for her, like putty in her manicured, greedy little fingers.
And Margot goes all in, playing it up. The love angle is seemingly candid even as she tells him the plan to revive the “dead” gangster with Methylene Blue. We witness the gas chamber in a groggy POV shot. In another picture about regenerate gangsters, this would be the end. For Decoy it is merely the beginning.
Because Margot is the film’s greatest force as a notable apex in the gallery of B noir femmes. She keeps gangsters madly jealous, twisted around her fingers, and then righteous men start caving, relinquishing their high ideals just to be with her.
Two of the most oddball supporting characters in the pictures are the morgue attendants who distract themselves with solitaire and reading words out of the dictionary — a real hoot — but they are plain folk who don’t ask questions when the good doctor skips out on the normal autopsy.
They go on obliviously as the body gets carted off to the “oven” only to get picked up by waiting gangsters. By now, there’s little doubting it. Owens is to be resurrected and yet it’s the devil incarnate doing it! But someone like Margot is only operating in viable currency. People are only needed for their immediate value to her.
Frankie is out of the picture when he’s not needed, Jim Vincent (Edward Norris) is just a handy thug to have around, and of course, Dr. Craig’s expertise made him invaluable (although he does smoke cigs which always leaves me scratching my head).
Everyone else is under the illusion that she actually wants them. Her intentions surely cannot be completely self-serving? Can they? And yet she can be found jamming the accelerator to get rid of people and gunning down hapless accomplices with waves of giddy relish. Even on her deathbed, she gets the last laugh on a cop who falls momentarily under her spell. But for all her trouble she got absolute zilch. A creature of crazed avariciousness will ultimately be met with total destruction.
Jean Gillie’s accent somehow elevates her performance with an edge of refinement and respectability the British seem to have and yet her actions and words are like vicious daggers of selfishness. There is no other way to see her vindictiveness but within the context of film noir; it’s a pulpy delight. Detour is still the standard bearer and the pinnacle of Poverty Row, throw ’em together noir gems, but Gillie is a preeminent femme fatale, especially for such an unassuming picture.