High Tide (1947) User Reviews

Some Great Moments, But Doesn't Hang Together

[boblipton · 6/10 · 20 October 2017]

Lee Tracy and Don Castle are trapped, dying in a crashed car at the beach. Flashback. Castle has just been hired as a PI by Tracy, playing a newspaper editor, to figure out who's been threatening him. Trouble is, Tracy's boss doesn't like Castle, because Castle and Julie Bishop, the boss' wife, had been a hot item, and she still wants him. So when the boss is shot and Tracy is wounded, things get even more confused....

The trouble with HIGH TIDE is this: there's a good story in there, and all the actors are good and make their lines sound real. The problem is those lines are trite. It looks as if some one saw one of the defining 'tec film noirs, like MURDER MY SWEET and said "Write in a scene where he gets worked over, and then shows up at the girl's house and cracks wise," so the writer does, and "Make the older woman jealous of the younger one." Unfortunately, by the time all these scenes had been written in, there was no way to write in the bits to connect them and make sense of them and keep things moving along at a tight 72 minutes. The result is a very watchable flick, with great moments, that doesn't, alas, bear much thought

Very competent and engaging Noir Thriller with excellent performances setting it apart...

[lathe-of-heaven · 7/10 · 10 June 2022]

There honestly is not a whole lot more I can add that the other positive reviewers didn't already say. I do disagree with the ones who said that the movie 'didn't hold together' or that there were plot holes. Not at all... Being an avid fan of Noir films I would say that this one for one of the lesser movies actually comes across as done much better than many of the 'Poverty Row' lower budget Noir films of the time.

The one thing that struck me as very good was the way the director seemed to elicit excellent performances from all involved. I really liked the subtle nuances in personality and style that, to me anyway, seemed a lot better than the way that many of the more 'Cardboard Cutout' Noir characters were cranked out at the time. I really liked the way the main reporter, and the cop, and even the secretary were portrayed. They didn't just seem like stereotypes, but actually 'Came Alive' in their roles which added a real richness to the story.

Take the bad guy, Dike... You only see him really in one brief scene, but I love the way he came across. Not as the usual tough talking 'Heavy', but actually very smoothly with a smile and genuine humour that I thought gave his character, although very brief, a nice genuine and classy touch that you normally didn't see in the run of the mill Noir villains. Also, and this one is SUPER subtle... The driver of the taxi when Slade is being followed, had this almost otherworldly, odd calmness and matter of fact manner when told there was a 'Fiver in it' if he could ditch the other taxi. Extremely brief and subtle, but in my lowly and wretched opinion it's these little and not so little character touches that to me really add up to a very engaging and compelling film.

This is just another good example of how VERY important the director of a movie is in being able to draw out subtle nuances and performances from the actors that can really add a lot of flavour to a film.

Poverty row film with abbreviated dialogue that is as unruly as the ocean...

[AlsExGal · 6/10 · 15 February 2016]

...but then I always love watching Lee Tracy at work, so that does make up for the lackluster execution of what could have been a good little mystery.

The film opens in an interesting manner with two guys at the site of a wrecked car with the tide coming in. They are both injured and sure to drown if something or someone does not intervene. It is obvious from the conversation that one of them is the bad guy but which one? This is to get your interest, then the film cuts to the back story which amounts to the entire movie.

Lee Tracy plays Hugh Fresney, editor of a Los Angeles newspaper. Somebody takes a couple of shots at him and the owner of the paper, Clinton Vaughn, one night, and Fresney is not sure whether the shots were meant for him or for Vaughn, so he calls up an ex-employee of the paper (Don Castle as Tim Slade) to investigate the situation. However, the reason for Slade being an ex-employee is that he was in love with Clinton Vaughn's wife, and in fact, still seems to be so. There are lots of side spats and odd goings on that keep you guessing until the entire thing is unraveled in a monologue that is delivered at such a machine gun pace that you will have to rewind a couple of times to catch everything.

Another problem is that just about every player in this film is so anonymous that it is hard to keep track of who is who, plus a couple of the players are so physically similar to one another that you won't be able to tell which character is actually on screen at the time. Then there are characters that show up, do or say something odd, and are never mentioned again. There is the question as to why Slade is so vital to solving this case when he was just a reporter before, not a P.I., and why the investigating police detective, played by the not so anonymous character actor Regis Toomey, seems so impotent and pig headed about everything. He's a great cartoon of a cop, but not much of a problem solver. Finally there is Julie Bishop as Julie, a secretary who only shares a couple of scenes and a couple of sentences with Slade, yet she seems to gather from him saying "You should see the lights of San Francisco some time" - Slade's new hometown - as a proposal...and she is right? Usually they have a name for girls who make such assumptions and that name is stalker, but here it is fiancée! I'd watch it for the weirdness of it all and for Lee Tracy, who gave every role his all. It's just too bad he blacklisted himself from A list productions back in 1934.

film noir

[SnoopyStyle · 6/10 · 10 July 2022]

Private eye Tim Slade (Don Castle) and newspaperman Hugh Fresney (Lee Tracy) are trapped by their car crash. They wait for their deaths with the incoming high tide. The movie flashes back. Fresney had been writing columns against gangster Nick Dyke. Dyke goes over Fresney's head to make a deal with his boss Clint Vaughn. Fresney hires Slade, "good reporter gone wrong", to join his crusade.

Normally, I love me some film noir. I like the opening premise. Maybe Slade could be trapped in a more precarious position. The waves should be slapping his face to elevate the intensity. In general, I'm not feeling these characters. They are very noir stereotypes. It's falling a little flat but I still like the overall tone. It's a borderline case.

Not without a few faults, but awfully good for a Monogram picture!

[planktonrules · 7/10 · 12 July 2022]

"High Tide" is a crime film that in many ways seems like film noir. While it doesn't have the terrific camerawork you'd expect with noir, the snappy dialog, violence and dark tone of the film make it noir in my book.

The film begins with two men after a wreck tosses them and the car into the surf. Tim (Don Castle) has a leg pinned under it and Hugh (Lee Tracy) is too badly hurt to move. The tide is coming in and the two men appear about to drown...and then the film goes back in time to eventually show you how the two men got into these straits.

The story that follows is about a newspaper...which isn't surprising considering Tracy played reporters in films more than any actor I can think of right now...but it clearly must have been a few dozen times. Some hoods are apparently chasing after Hugh and so he hires Tim to investigate and be his body guard. Soon Hugh is shot, but survives...but the owner of the paper is killed. Instead of waiting for the cops to investigate the case, Tim does what is common in B-movies of the day...he investigates himself and soon becomes a suspect in the crime. What's next? See the film.

I liked the story very much and the acting as well. However, be prepared to feel a bit confused about the surprise ending! Tim apparently figures out the entire conspiracy even though logically it was difficult for him to have done so. So, I say watch this still good film and just accept the twist on face value and don't question it.

B Royalty Film - High Tide

[arthur_tafero · 7/10 · 14 December 2022]

There are B movies from the forties, and then there are really good B movies from the forties. This one belongs in the latter group. A good case could be made that it is among the best B films ever made. It has editing flaws to be sure, and some of the dialogue is corny and there are throwaway lines, but the primary plot and set-up for the film are first-rate. It will keep you guessing from beginning to end, and I guarantee you that you will most likely be guessing wrong, like I did. And I usually don't guess wrong in these films. That alone should tell you something about the plot. Good luck trying to guess the man (or woman?) who is the secret killer.

high tide

[mossgrymk · 7/10 · 12 August 2022]

When he's not nonstop screaming at you, like in "Half Naked Truth", Lee Tracy is one fine actor and indeed his performance as a morally burned out city editor with flecks of decency in his character is the best reason to stay with this el cheapo noir. Be warned, though, that there is a considerable fall off in quality when Tracy's not on screen, with Don Castle, Julie Bishop and Anabel Shaw engaged in a spirited contest to see who is the least talented actor. (I'd say Shaw wins, but it's close). Fortunately, Tracy's onscreen 75% of the time. And that last image of his vehicle, with him inside, being slowly engulfed by the eponymous surf is evidence of director John Reinhardt's talents, as well. B minus.

PS...If they ever remake this movie (not a bad idea, in my opinion), then you can bet your double indemnity that the homo erotic elements of the Fresny/Slade relationship (especially on Fresny's side) will be more fully explored.

Moody, watchable little gem

[goblinhairedguy · 8/10 · 6 May 2005]

"High Tide" is a totally obscure but wonderful B-movie film noir from the Monogram mill. It opens with a car careening off a desolate seaside cliff -- its two occupants (Lee Tracy and Don Castle) injured and trapped in the wreckage. As the turbulent tide quickly threatens to engulf them, the events leading up to their predicament are recounted -- a twisty tale of a cynical, crusading newspaper editor (Tracy, naturally) taking on the mob while the high-living owner frets. The latter has even more problems when Tracy hires his jaded wife's ex-lover (Castle) as a private investigator.

Solidly directed by John Reinhardt (who also triumphed with another seedy, minimally-budgeted Monogram noir called "The Guilty"), the dialog is snappy but eloquent, there are plenty of venetian-blind shadows, silhouetted figures and moody low-key lighting, and the plot is nicely unraveled. Only the annoying library-style music lets the side down (lending it that inevitable "B" quality, of course). Tracy was playing out the string on poverty row at the time, but his wry staccato readings and weary-but-steadfast demeanor are a perfect fit here.

Unique film noir one can expect

[jordondave-28085 · 7/10 · 31 March 2023]

(1947) High Tide CRIME DRAMA

The beginning of this movie happens to also be the end, with 2 people we know nothing about are hurt badly after a car went over head down into a beach side with the ocean tide coming- hence the title "High Tide". It was at this point the movie flips back a few days with known investigator for the newspaper, Tim Slade (Don Castle) answers a telegram from a former colleague he used to work with by the name of Hugh (Lee Tracy), a supposedly heartless and somewhat powerful editor of the newspaper he is currently employed for, he offers Tim to be his beneficiary of 10,000. Once Tim Slade comes back home, he is then confronted by old flames and the manager of the paper who used to be Jack's girlfriend creating tensions between the manager of the paper and him. With it's twists and it's revelations one can expect from a film noir.

Average "B" Crime Thriller saved by clever plot misdirection involving killer's identity

[Turfseer · 5/10 · 24 July 2022]

A Monogram Pictures product, High Tide has the dubious distinction of falling under another moniker: Poverty Row. Whenever you hear that appellation, you will feel secure in knowing that you are watching a "B" noir.

As usual, the script features characters that are hardly fleshed out at all. It's simply a murder mystery in which initially we're asked who fired shots at crusading newspaper editor Hugh Fresney (Lee Tracy) and his milquetoast boss, publisher Clinton Vaughn (Douglas Walton) while they're driving back to Vaughn's LA home.

Various red herrings are introduced. Chief among them is the co-star of the picture, former reporter turned gumshoe Tim Slade (Don Castle) who Fresney hires to protect him from a coterie of suspects. Those include gangster Nick Garde (Anthony Warde), a reporter who Fresney fired and vowed to get even with him, as well as a woman who blamed Vaughn's paper for turning the public against her husband, a criminal who ends up executed in the gas chamber.

Slade is also suspected after Vaughn's wife Julie (Julie Bishop) seeks to resurrect a prior relationship. An incriminating letter turns up written by Julie expressing her dislike for her husband and Slade has her give him temporary rights to run the paper after Vaughn is murdered.

When Vaughn is killed, Fresney is also shot but survives after only sustaining a flesh wound. The High Tide scenarists do a good job of misdirecting your attention from the real killer until the climax when it's revealed that it was Fresney all along who was in cahoots with the mob.

A framing device begins the film with Slade trapped beneath a car and Fresney badly hurt inside as the high tide begins to creep in on a beach. At the end, we see how the two ended up in their predicament: Fresney drove the car off a cliff after Slade pegs him for both the murder of Vaughn and Garde.

Slade is able to dig his legs out from under the crashed car after Fresney lets him go (as both of them were fairly good friends before everything goes awry).

The acting here is perfunctory and as I indicated there is little to no character development. Only the revelation of Fresney's culpability comes as a decent twist. Thus, High Tide is saved by its plot despite having all the trappings of a typical "B" crime thriller.

Hardcore noir on the double

[clanciai · 9/10 · 30 November 2021]

What strikes you in this film is the amazingly efficient dialog, that keeps the film rolling on in a constantly more furious tempo, as if both the writer and the director had been in a hurry to reach the end before the high tide comes to engulf them. The sharp curt dialog and the constantly bolting action makes it a little confusing, so this is a film you need to see several times, and even if you watch it again and again, you will still have some difficulty in sorting things out. Usually in noir thrillers like this there is a dame behind it all, knitting it all together, and there is a dame here of course, but she is not knitting it together but rather becomes more of an outsider excluded from the game. The introductory scene is a masterpiece in itself, two hard gamblers in journalism stuck in a wrecked car after an accident driven off the road next to the sea, while the tide Is rising, certain to drown both of them, while they have a few moments to discuss their situation - then follows the long flashback, which is almost the entire film, while you all the time will be waiting for the moment of the accident, what caused it, and the end of it. Since the film is not very long, only 70 minutes, and since the action is constantly racing, you will have no problem waiting for it.

Hodge-podge of a noir plot - cheap and cheerless - but has a few charms.

[declancooley · 4/10 · 31 July 2022]

After a very intriguing start, this movie centres on a newspaper that is getting threats from the local organised crime gang due to its reports on its activities - even printing an imaginary picture of the local kingpin behind bars. This raises his ire - but that is not the only threat to the owner; his editor Hugh Fresney (a crusty Lee Tracey) and his investigative reporter/'special investigator' Tim Slade (a dashing Don Castle) are at loggerheads as a result of their ambition to have more influence at the paper. The owner's wife and secretary both seem interested in PI Slade as do the mob and the police - given his rebellious streak in the face of everyone. There is a general air of suspicion hanging over all the players, and the motives of various characters are deliberately kept uncertain, which helps the plotting. However, the film seems half chopped away; more scenes would help to remove the necessity for exposition spiels here and there, and flesh out some of the characters and their motivations. Moreover, the music seems like it could accompany any noir - and sometimes does not really match with what is on-screen. Still, the acting is serviceable and gets the job done, and there are a couple of minor roles or short-screen-time characters that are really gritty, with a few nicely snappy lines that raised a smile here and there. The lighting and camera work are standard fare with an occasional pleasing shot. I can't rate it terribly highly, especially given the number of contorted contrivances in the story, but at just 72 mins - it is a decent B-movie noir.

a little gem worth 10 big films

[arikkr · 10/10 · 18 August 2006]

this is another nice lesson of the imaginative inspiring little movie,done away the assembly-line. it must be mentioned that part of the success really must be attributed to the author of the novel - Raoul Whitefield' a forgotten name' but a good artist of the tough-guy school. he was one of the stable-of-talents on a wonderful magazine,IT the 30th, called "the black mask" among them the legendary dash Hammett and Raymond chandler' but also wonderful talents like Whitefield and Horace McCoy(famous later for his masterpiece "they shoot horses don't they"). what a pity that all this is gone by now, in a world of cooperates and brainless big lush productions. its our loss and lets pray for some brave creative producer to save us...

A NEAT OLD MONOGRAM NOIR

[tcchelsey · 10/10 · 10 July 2022]

Although Monogram Pictures was best known for its sprawling western unit and the Bowery Boys, every once in a while it would churn out a neat little mystery or even noir. HIGH TIDE is a prime example, with lots of shadows and sinister glances to set the ominous tone. Lee Tracy, still at his wisecracking, wise guyish best, leads the pack in a tense crime drama that will keep your attention. The opening crash scene is not bad, setting us up for what's to come, but the true star here is a dynamic troop of actors who do their very best to convey good versus bad. HIGH TIDE has been around for years, a late show fave, and its nice to see it back in circulation for a new generation of noir completists. Recommended and now on dvd from assorted indie retailers.