Lizabeth Scott & Humphrey Bogart team for 1947’s film noir, “Dead Reckoning.”

Humphrey Bogart’s Dead
Reckoning was released in 1947 by Columbia Pictures, the same year as
Bogie’s WB effort, Dark Passage. Both
film noirs had a few things in common: Bogart’s on the lam, looking for a
killer; there’s Bogie-style noir narration; and he meets mysterious blondes
that instantly fall for him.

Humphrey Bogart as war hero “Rip” Murdock, in 1947’s “Dead Reckoning.”  Bogie’s Rip is determined to get the bottom of the death of his war buddy.

Dead Reckoning feels like a mashup of Gilda and The Maltese Falcon. This Columbia film noir was intended as a
vehicle for their top star, Rita Hayworth, to be teamed with Bogart for the
first time. Imagine, Bogie working with the inspiration for his later film, The Barefoot Contessa! But Rita was
still toiling on hubby Orson Welles’ own noir, The Lady from Shanghai. Columbia cleverly borrowed new star
Lizabeth Scott from Paramount, considered “The Threat” to Bogie’s co-star and
spouse, Lauren Bacall. They were both blonde with husky voices but that’s where
the similarities end.

They didn’t call Lizabeth Scott smoky-voiced for nothing! Humphrey Bogart lights her cigarette and more, in 1947’s “Dead Reckoning.”

In Dead Reckoning,
Bogart plays “Rip” Murdock, a war hero who is looking for the killer of his
wartime comrade. The movie opens with Bogie’s soldier on the run from cops and
bad guys. Injured, he ducks into a church. There, he begins confessing his tale
to an Air Force chaplain in true film noir narration style. I was smiling,
imagining what the priest thought of this over-detailed, lingo-laden tale of
woe, which lasts for most of the movie! It reminded me of Carol Burnett’s Mildred Fierce, where she tells the
police her story in flashback, starting when she was a poor little girl with
shabby shoes!

Humphrey Bogart hides out in a church and tells his long, convoluted tale to a priest, in the 1947 film noir, “Dead Reckoning.”

Film noirs are renowned for their coincidences and Dead Reckoning is no exception. Bogie
barely gets to his missing pal’s home town before the coincidences start a
collision pile-up. When he arrives in Gulf City, he happens to check into the
hotel that his buddy already booked for him, knowing he’d follow him. A
fugitive AND a friend, how thoughtful! A trip to the library to research any
clues on his pal’s life before the military handily provides front page
headlines of his pal’s involvement in a murder. Later, at the night club where
these peeps patronized, The Sanctuary, meeting these characters proves
instantly fruitful. One witness is a very nervous bartender. The lady in
question sidles up to Rip before he barely has time for a first sip of his
drink. The bad guys then zero in on the soldier turned sleuth. The bartender
has some secret info for Bogie’s Rip, which means he’ll soon turn up dead. Of
course, Lizabeth Scott’s Coral Chandler is a nightclub singer, and is soon
asked to sing her signature ditty from their table! And no way does it resemble
Scott’s speaking voice, plus her blowfish mouth movements—all very strange,
since Lizabeth made several musical records later.

Love these old movies where the leading man or lady in question has a framed picture to represent them at a climatic moment! Humphrey Bogart and Lizabeth Scott in 1947’s “Dead Reckoning.”

The smooth club owner and his sadistic sidekick run the club
the size of a soundstage and they seem to have something on Lizabeth’s song
bird. Bogie’s Rip is wary of all of them. Perhaps he saw Gilda! From there, Rip is determined to get the info and the murder
weapon back, but he seems thwarted at every turn. Who keeps tripping him up?
From there, there’s some plot lifting of The
Maltese Falcon.

***Spoiler Alert Ahead***

Bogie does the best he can with the
over the top dialogue assigned to him. That he does so credibly speaks to
Bogie’s talent as a screen actor. As for Lizabeth Scott, it’s hard to get a
bead on her. Back in the day, she was poorly reviewed, often called wooden. I
don’t think that’s true, but while her character shows warmth, Scott doesn’t
really seem at home in the femme fatale role. Like
Rita Hayworth in The Lady from Shanghai,
Lizabeth Scott’s character does a total about face and revealed as the villain.
As Scott’s Coral is so languidly femme, she barely seems to possess the energy
to be fatale! There’s no variety Scott’s performance, in her
character’s behavior or revealed motives. Her voice is indeed husky, like
Lauren Bacall, but Scott seems to have a lisp or slur. Every time she says yes
as “yesh,” I thought of Carol Channing. While Lizabeth Scott is certainly
attractive, there’s an odd look to her, particularly in profile. Unfortunately
for her, Scott became instantly typecast in these noirs and it shortened her
career. 

Love, noir style! Tears and throat clutching, between endless cigarettes, with Humphrey Bogart and Lizabeth Scott, in 1947’s “Dead Reckoning.”

John Cromwell’s
direction is adult and with some style, but there’s only so much he can do with
this story. The film really pushes the after-war bit. Bogie’s “Rip”
uses lots of nicknames or pet phrases relating to his stint in the military. By
the end of the movie, so does his gal Coral Chandler. Bogie’s Rip also goes
from instantly mistrusting Scott’s Coral to falling instantly in love with her,
which goes back and forth several times. And Rip’s takes on life and love are
an eye roll, even for the era.

Lizabeth Scott as femme fatale Coral Chandler, gets a glam death scene, in 1947’s  “Dead Reckoning.”

The supporting cast is adequate, but they’re mostly
stereotypes, and none of them really stood out for me; in Bogart’s same year Dark Passage, there were a number of standout
supporting actors. Like Dark Passage, Dead Reckoning
is quite watchable, but not the least bit credible, even on film noir terms.

Bogie
& Bacall team for a WB film noir with a different vibe than Dead Reckoning, in 1947’s Dark Passage:

https://ricksrealreel.blogspot.com/2024/09/bogie-bacalls-chemistry-brings-depth-to.html

Despite the poster’s tag line, Humphrey Bogart is the same Bogie from his other film noirs. The difference is the husky-voiced blonde, Lizabeth Scott, in 1947’s “Dead Reckoning.”