‘C’- MAN

US, 1949, 75 minutes, Black and white.
Dean Jagger, John Carradine, Harry Landers, Lottie Elwen , Rene Paul.
Directed by Joseph Lerner.

This is a small semi-documentary drama of the late 1940s, popular at the time. Instead of the famous G-men, this is a story of investigators for customs, C. It is set in the atmosphere of Europe in the aftermath of World War II, migrants, the experience of the Resistance, jewellery and smuggling?

Dean Jagger (the dialogue saying that he was 35 when he does not look this and he was in fact 45) is a customs investigator, coming from a fishing holiday, learning that his colleague had been murdered. His commission to investigate, to go to Europe, track the killer who had been identified, search for a necklace which had disappeared and was to be smuggled back to the United States.

He makes connections, meets a young woman, of Dutch origins, very chatty at the airport, also chatting on the plane, subdued during the flight by doctor injecting her, abducted after arrival in America. The alleged killer is also on the plane, but is able to disappear on landing.

The investigator goes undercover, connects again with the young woman, accosts the killer and his associates, he being suave, his main collaborator being a thug, with scenes of very violent behaviour. There is also the woman who owned the necklace and wants to recover it.

The plot is complex, the nature of the smuggling ring, where the necklace was hidden, the recovery, the woman who owned the necklace being something of a femme fatale, in league with the killer, plans for smuggling, selling and making money. The agent also tracks down the alcoholic doctor who administered the drug on the plane.

The agent acts rather smoothly at some stages, especially in a restaurant, indicating to the thug that his being doublecrossed. The agent then goes into action, fights, confrontations, deaths.

Needless to say, the bond between the agent and the Dutch woman is strong and he is able to look after her in collaboration with his wife.

Of musical interest, the score is sometimes strident, sometimes melodious, sometimes seeming to comment on the action, sometimes in contrast. In fact, the musical score by Gail Kubik forms the basis for the composer to make a symphony which won the Pulitzer Prize in 1952, Symphonie Concertante.