Two of a Kind (1951)

User Rating:

6.7/10   

Director:

Henry Levin

Writers:

James Edward Grant (writer)
James Gunn (writer)
(more)

Release Date:

July 1951 (USA)

Genre:

Crime | Thriller | Film-Noir | Drama

Tagline:

The kind that don't die in bed!

Plot:

Brandy Kirby and crooked Lawyer Vincent Mailer plan to rob William and Maida McIntyre by producing a convincing double for their long-lost son...

Plot Keywords:

Swindle | Impersonation | Murder

Cast

Edmond O'Brien	...	Michael "Lefty" Farrell
Lizabeth Scott	...	Brandy Kirby
Terry Moore	...	Kathy McIntyre
Alexander Knox	...	Vincent Mailer
Griff Barnett	...	William McIntyre
Robert Anderson	...	Todd
Virginia Brissac	...	Maida McIntyre
rest of cast listed alphabetically:
Kathryn Card	...	Bingo Woman (uncredited)
Claire Carleton	...	Minnie Mitt (uncredited)
Louis Jean Heydt	...	Chief Petty Officer (uncredited)
J.M. Kerrigan	...	Father Lanahan (uncredited)
James Kirkwood	...	Ben (uncredited)
Al Murphy	...	Desk Sergeant (uncredited)
Emory Parnell	...	First Deputy (uncredited)

Directed by
Henry Levin

Writing credits (in alphabetical order)
James Edward Grant		writer
James Gunn		writer
Lawrence Kimble		writer

Produced by
William Dozier	....	producer

Original Music by
George Duning

Cinematography by
Burnett Guffey

Film Editing by
Charles Nelson

Art Direction by
Walter Holscher

Set Decoration by
Louis Diage

Costume Design by
Jean Louis		(gowns)

Makeup Department
Clay Campbell	....	makeup artist
Helen Hunt	....	hair stylist

Second Unit Director or Assistant Director
Sam Nelson	....	assistant director

Sound Department
Frank Goodwin	....	sound engineer

Music Department
Morris Stoloff	....	musical director

Production Companies

• Columbia Pictures Corporation

Distributors

• Columbia Pictures (1951) (USA) (theatrical)
• Columbia (195?) (Belgium) (theatrical)

Runtime:

75 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Belgium:16 | Finland:K-16

Company:

Columbia Pictures Corporation

Promising noir wastes its potential and its cast by pulling too many punches

If you like your film noir declawed and defanged, then Henry Levin's Two of a Kind is the movie for you. The vexing part is that it starts off strong, keeping the viewer off balance. Lizabeth Scott is scouring the continent looking for a particular man. Her quest takes her from a Chicago orphanage to the carny circuit to the Department of the Navy in Washington; she finally finds him, working in a bingo parlor, in Los Angeles where she started.

He's Edmond O'Brien, and she's after him because he fits the bill for a con job that she and her lover Alexander Knox have been hatching for a long time. A wealthy old couple has nobody to leave their fortune to, because their son vanished when he was only three years old. Knox, their attorney, and Scott are grooming O'Brien as a ringer to show up and claim the inheritance, which they'll all split. There are a couple of catches. For one, the kid lost the tip of his finger in a childhood accident, but since he can cash in his own fingertip for millions, O'Brien falls in with the scheme. The other is that Scott, to Knox's chagrin, starts to go sweet on O'Brien.

Up to the scene when Scott smashes O'Brien's finger in a car door, so he'll have reason to have the first two joints amputated, Two of a Kind promises to be low-down and unsentimental. But the movie's tone suffers an incapacitating fracture with the arrival of Terry Moore, as a niece of the old couple and the patsy through which O'Brien will secure his entry into the family's affections. (She's a vapid dilettante whose hobby is collecting `causes;' falling for no-good men and trying to reform them seems to be one of them.)

O'Brien gains admittance to the family; his candor about his raffish past puts him in good stead. But when the pot of gold seems just within reach, the patriarch drops a bombshell: He won't leave a cent to his newfound son on the grounds that it would ruin him. This prompts Knox to rachet up the swindle to the next level - arranging an early send-off for his unwitting benefactors. Scott and O'Brien demur, but by this time they're in too deep....

The dark tone of the opening returns briefly, but it's too late and doesn't last. Despite that brutal finger-smashing, there's a squeamishness to the movie that doesn't let it pursue the expectations it raises. The insipid ending opens regretful speculation: Whatever happened to the Lizabeth Scott of Too Late For Tears, the Edmond O'Brien of 711 Ocean Drive, and the Henry Levin who directed Night Editor?