In the days before they were known as film noir, the melodramas of the 1940s have such evocative titles, which now verge on the edge of camp. One can imagine the plethora of quality bumper stickers noir aficionados could plaster on their jalopies and Cadillacs. Try these on for size: Kiss Me Deadly, Murder My Sweet, Touch of Evil, In a Lonely Place. You get the idea.
I’ve become so conditioned to hearing them — to referencing the actors and directors within their frames — sometimes it’s easy to forget how strange they sound. Well, you might as well add I Love Trouble to the bunch. Of course, it means absolutely nothing, but that’s the point isn’t it, stirring something volatile up within the viewer. It suggests a vivid mental picture and this is somehow equally important.
I Love Trouble is generally forgotten today, as is its director-producer, S. Sylvan Simon, and yet the movie is a swirling labyrinth capable of going toe to toe with anything Marlowe ever faced. The dividing line between tautness and plot holes or logic and absurdity almost ceases to have credence. If this will fluster you as a viewer — enrage your logical sensibilities — it’s best to look somewhere else for your two-bit entertainment.
The true pleasures come with getting swept up in the world with all its additions and misdirects courtesy of a neverending conveyor belt of characters riffing off snappy bits of repartee. It fills in fairly nicely between the confrontations and beatings, smoothing over any major issues.
The opening is simple. A man is trailing a woman and she confronts him. It turns out he’s a private eye in the service of one Ralph Johnston (Tom Powers), looking for the other man’s missing wife. So it’s a bit of a Vertigo set-up, except the woman he’s already confronted wasn’t her. Well, it was, but it might as well be somebody else. Because she altogether vanishes from the film.
What follows is as expected. Stuart Bailey (Franchot Tone) makes the rounds being his charming, slightly ingratiating self in order to dig up the facts at the behest of his employer. Tone is a dashing lead prone to cheekiness, but this is most of the fun, played in the vein of the best P.I. work of Bogart and Dick Powell if not quite as iconic.
No matter. It leads him to run around Los Angeles and take a venture to Portland, Oregon. The facts start unveiling themselves bit by bit but never in a clear, definitive manner. There must always be further convolutions and new moments of sheer incomprehensibility.
In a picture like this, every single Dick and Jane might as well have a motive and the cast just keeps on coming. To explain how all the characters fit together siphons off a bit of the gamesmanship of the drama. It’s safe to say John Ireland is a brooding heavy. Steven Gerray, though graced with pleasant features, somehow contrives them, along with his accent, into something vaguely sinister.
Then, there’s the bald-pated cafe staffer Buffin (Sid Tomack), who knew the dame in a former life when she was making the move to Los Angeles. There’s a Chauffeur who seems oddly invested in the whereabouts of Mrs. Johnston and his enigmatic employer Mrs. John Vega Cabrillo (Janis Carter).
Others might be far more astute than me, but upon a single viewing, it’s easy to admit never quite getting one’s head straight on which woman is which, and maybe that’s the point of it all. Regardless, it hardly seems necessary to avail oneself of the details.
Janet Blair has near-top billing and drifts into the story almost haphazardly on the pretense of finding her sister. Janis Carter is suitably brooding with that imperious allure of hers. Adele Jergens is just another pretty face who jousts with our protagonist because what would such a picture be without her? Finally, there’s Glenda Farrell with a bit of lovable fortitude as Hazel Bixby, Bailey’s hapless secretary.
It actually proves to be a fine asset, having so many female characters all of varying degrees of importance, but all getting a piece of the pie. Because granted some are more cursory than others, and yet I’m even disposed to remember the two waitresses (Karen X Gaylord and Roseanne Murray) at the sidewalk cafe. It says something about the characterizations, where the bit players get to leave an impression.
These whirling, often abstruse brands of noir often work best on this level. I Love Trouble can generously be christened a lesser disciple of The Big Sleep but nevertheless a decent go at the gumshoe genre. Because it has the peculiarities — small pockets of interest — placed within the befuddling signposts of the plot.
Roy Huggins would be remembered much later for his work in television for shows like 77 Sunset Strip, coincidentally starring Efrem Zimbalist, Jr. as Stuart Bailey, and then The Rockford Files, which owes more than a small debt to the hardboiled procedurals of the olden days with a James Garner twist for the 70s.
The final moments of I Love Trouble could play out as a male dreamscape. Our protagonist is surrounded by a myriad of women, and yet since the threat is abated, he’s taken in by the calls of matrimony. For being such an obscure entry in the noir canon, it’s quite a surprising piece of diversion if you go for such things.