Bonita Granville is twins — one good, one evil!
“Which is the evil one?” I asked.
“The one in the negligee, obviously,” explained Fiona.
Later, she admitted that there is some difficulty telling which one is good, since Bonita has a certain “edge.” Or maybe we’re just carrying the strong feelings she evokes as a terrifying bully and sneak in THESE THREE. She’s very sweet as Nancy Drew in that series of films, but there she doesn’t have a bad version hanging around, reminding you how evil she can be.
The film is THE GUILTY, and there is not that much to say about it. But Bonita is an interesting figure. Like a lot of child actors, she never quite attained a real persona as an adult, but she kept slogging away at the acting, even when her star vehicles were released by Monogram, the bottom-of-the-barrel Poverty Row specialists. This little noir wisely avoids the jokiness of many Monogram horror outings like VOODOO MAN. It’s straight Woolrich delirium, but without much visual flair to compensate for the cheapness. The exceptions are (1) a nice nightmare sequence where Bonita wakes up next to the empty bed formerly occupied by her virtuous sister — a complete red herrings scene designed to make us think she might have something to do with the disappearance which actuates the story, and (2) a slow track past a dormant character. There’s no real reason for the move, which feels surprisingly modern, the kind of thing an anxious tyro would do to keep us interested in a static scene.
The other problem with the film is that, since watching a couple films in THE WHISTLER series, I get excited whenever I see the shadow of a man in a hat, and have to start narrating the film in a snide, Vincent Price type voice.
It’s him! “You thought, Bonita Granville — didn’t you? — that you could play two physically identical characters, carefully differentiating them by subtle shadings of characterisation… how wrong you were!”
Still, the supporting cast is fine, everybody’s a suspect and quite creepy with it, given the horrible nature of the crime, as it’s eventually revealed (with grisly relish). And I didn’t guess the ending, which is also quite modern, even if the story doesn’t make a lick of sense.
Based on this and THE INVISIBLE GHOST, Monogram (I keep typing Mongorama by mistake!) were very fond of the pointless identical twin device. I reckon it’s not plotting, it’s economy — I figured out myself that you pay actors by the week, not by the role, and have exploited this loophole several times myself…