Written by: Mary McCarthy (screenplay), Charles M. Brown (story)
Directed by: Howard Bretherton
Starring: Frankie Darro, Dick Purcell, Mantan Moreland
Summary: Frankie Darro produced a comic turn as a bellhop breaking a bond theft ring; the first film to pair him with African-American comic Mantan Moreland, but far from the last.
Darro has already come up a few times in these reviews: He played the young Cagney (sort of) in “The Public Enemy” and played a juvenile delinquent is Cagney’s “Mayor of Hell.” Although I can’t tell whether Darro actually had Irish blood or not (his real name was Johnson), he played an awful lot of Irish youth — here’s a brief list of character he played: Barnie Finn, Tad Dennison, Mickey Grogan, Billy Ryan, and “Orphan” McGuire. He even provided the voice of Lampwick in Disney’s “Pinocchio,” the only redheaded character in the film, and his casting is likely based on his long career of playing Irish delinquents.
But if Darro could often put himself forth with a budding criminal’s swagger, he was also a skilled comic actor, on display in “Irish Luck.” The film is a bit of a nothing, telling of a bellboy named Buzzy O’Brien who can’t help but stumble into mysteries in his hotel. But it’s an entertaining nothing, helped by pairing Darro with African-American actor Mantan Moreland. I’m a fan of Moreland, and even visited his grave when I lived in LA, and his reputation deserves reexamination. He’s notorious for playing bug-eyed, frightened African-Americans, which became something of a noxious cliche in Hollywood. But Moreland’s bug-eyedness was natural, and his comic skills impeccable and understated. He never plays his character’s fear as an exaggerated burlesque, but instead as a perpetually fretfulness.
The title, “Irish Luck,” is deliberate. Darro has an Irish mother in this, and, moreover, when he meets a female suspect in this, he decides she must be innocent, as her name is Monahan. Now, my name at birth was Monaghan, so I sympathize, but I also have to admit this is an odd plot point. After all, at the start of the movie he manages to capture a pair of bond robbers, and while they are unnamed, they are played by Pat Gleason and Gene O’Donnoll, so it’s not as though Irish criminals are unheard of, even in this film’s universe.
But the kid has an instinct that Monahan is okay, and, in general, his instincts are right on the money — there’s some suggestion that he literally inherited his genius for deduction from his deceased father, who was a policeman. His father’s former partner, player by Dick Purcell (who himself would make a terrifically entertaining film with Moreland called “King of the Zombies”), is nonplussed at Darro’s boy detective ambitions. But if there is one thing Darro demonstrated in films, it was that he tended to get swept up in things, and once swept was unstoppable.
If only the same could have been said of his career. He did a stint in the military during World War II and contracted malaria. Reportedly, he suffered long-term effects, which he attempted to manage with alcohol. Although he managed to make regular, often small appearance on film and television, he was broke for much of his adult life and struggled with alcohol. This was probably exacerbated when he opened a bar on Santa Monica Boulevard called “Try Later” and named after the response he typically got when he contacted Central Casting.
I worked as background talent for Central Casting several years ago, and I know how frustrating those calls are to this day. Boundless energy and enthusiasm doesn’t stand a chance against the drudgery of making tens or even hundreds of calls per day, hoping a job has opened up and that you’re right for it. It’s just murder, and it’s a murder that even a former boy detective couldn’t solve.