CharlesPaolino's Blog

Nepotism may be problematic in terms of morality, but it sometimes works out for the best. We watched an example the other night: The 1951 film Cause for Alarm.

This movie didn’t do well at the box office, and it has been so neglected that it is in the public domain. But it’s a thriller that still holds up after more than sixty years, and its merit is due in large part to its simplicity.

Cause for Alarm stars Loretta Young as Ellen Jones, Barry Sullivan as George Jones, and Bruce Cowling as Dr. Ranney Graham. The score is by Andre Previn.

In this story, which Young narrates, Ellen meets George, an army pilot, during World War II. They are introduced by Dr. Graham, who is fond of Ellen but seemingly too busy for a relationship. George comes across as annoyingly self-assured and narcissistic, but Ellen falls for him and, after the war, they marry.

BARRY SULLIVAN and LORETTA YOUNG

Fast forward their lives, and George has suffered a serious heart attack and is bed-ridden at home. He has become paranoid and imagines that Ellen and Dr. Graham are plotting to kill him by administering overdoses of his medications. He makes this accusation in a letter to the district attorney—addressing it to the DA only by name, not by title—and asks Ellen to mail it, telling her that it’s related to his insurance business. When Ellen has handed the letter to the postman, George accuses her directly and threatens to kill her with a pistol, telling her that he will argue that he did it in self defense. At this moment, George suffers a fatal heart attack, and the rest of the film concerns Ellen’s frantic effort to conceal George’s death long enough to recover the letter to the DA.

IRVING BACON and LORETTA YOUNG

Most of the action in this film takes place in the Joneses’ home or outdoors in the neighborhood nearby. A significant portion of the setting for the story is George’s bedroom. In this mundane domestic atmosphere, the tension generated by Ellen’s growing anxiety is magnified. Although the situation is implausible, and the acting is of the arch variety that was typical of that time, the story is compelling as Ellen descends toward hysteria.

The producer of this film was Tim Lewis, who at the time was the second of Loretta Young’s three husbands. Lewis had considered Judy Garland for the role of Ellen, but decided to cast his wife instead. The film required an actress who could project simplicity, even naiveté, because what makes the story work is that it is such woman who, through no fault of her own, finds herself in this dangerous position. No doubt Garland, who was only 31 when this film was made, would have done Ellen justice, but I doubt that in this instance she could have outdone Loretta Young.

The director, Tay Garnett, shot this film in fourteen days by throughly prepping the cast and the crew in advance. An interesting sidelight is that the postman is played by Irving Bacon, who appeared in well over five hundred films and television shows between 1915 and 1965, including twenty-eight films based on the comic strip Blondie in which he played a postman.