Those familiar with the Whistler series, of which these are the fifth and sixth parts (each a story to itself), will know that there is ingenuity to plot and setting every time. Of these two, the second - about an artist married to a rich , dying woman - is the better even if Mysterious Intruder has some fine moody noir scenes, all alleyways and ill-lit premises.
As for Secret, much is owed to model and femme fatale Leslie Brooks - and leaves one eager to seek out her later Blonde Ice, in which she disposes of a series of husbands (something of an aspiration in this one).
Two more Whistlers to go - a treat in store for anybody who welcomes an intelligent diversion.
William Castle’s final entry in Columbia’s Whistler series of low budget suspense pictures suggests he has been taking notes from the emerging film noir movement. The shadows are deeper and darker, and many scenes are plainly stolen from year-zero noir Murder, My Sweet (1944).
Even more, the script rips off The Maltese Falcon (1941) at every turn. Except this time the rumpus is all about is a couple of valuable musical recordings. Series regular Richard Dix stars, and his morally ambiguous gumshoe might as well be called Sam Spade.
Barton MacLane even turns up as the antagonistic cop. The private dick is hired to find the real owner of the MacGuffin while a dangerous criminal gang muscles in. It doesn’t so much duplicate the usual Whistler blueprint. This is less about the fate of an ordinary man blighted by a single wrong move…
And the Whistler is just a narrator, rather than the mocking, cautionary voice of destiny. The support cast isn't as familiar as usual, but Mike Mazurki has a cameo as a killer heavy. It’s an hour long, cheap, dirty B noir but way above standard for an instalment in a ’40s mystery series.