How many people know the series of films made in the later Forties introduced by a shadowy off-screen man known as the Whistler? Based on a radio series, eight were adapted for film. Each of these, at about an hour, starred Richard Dix except for the last one (he had died). He was not so much a recurring character but somebody more interesting. He played a different character in each, some more sympathetic than others and all of them fascinating.
With the third of these, The Power of the Whistler (1945) he is a man knocked by a car at the side of a city road, an accident which loses him his memory, as becomes evident when he seeks comfort in a nearby bar and, at an adjacent table, he is seen by Janis Carter who predicts from her tarot cards that he will die within twenty-four hours. Nobly, and with only the clue of some items in his pocket, she sets about helping him restore his identity and fend off a fall of the Scythe.
There is something of film nor to this, as there is the series itself, and this instalment takes a sinister turn. Say no more, but equally praise the next one, The Voice of the Whistler, in which a man who has risen Citizen Kane-like to great business power - the opening has a sequence of documentary extracts to this effect - now learns that he is set to die within months.
Fancifully he proposes to his doctor’s nurse so that, come the time, she will inherit his fortune and be able to support that heroic fiancé. This is, so far, something of a Capra construction, along with a cockney driver who is one of those founts of wisdom that can grate. The film has another startling element which finds the temporary couple retreating to a lighthouse for about half the film, a situation complicated by Dix’s apparent recovery and... Say no more. There is no predicting what form each of these eight films will take. Nor to be watched in a binge but a couple now and then makes for high-level entertainment which defies modest aspirations.