Fates Worse Than Death: Dick Tracy Returns

Dick Tracy, still a plainclothes G-Man with the Western Division of the FBI, is lecturing a new class of incoming agents: “Remember,” he tells them, “there are no rules in the game of justice versus crime,” giving a bracing wake-up call to the new agents while reminding viewers that this serial will involve the nuts and bolts of serious police work. Tracy and his colleagues are trained and careful policemen, vulnerable to bullets, not costumed superheroes. Afterward, Tracy greets one of the new agents, Ron Merton (David Sharpe), a promising symbol of the Bureau’s bright future. (Gosh, I hope something bad doesn’t happen to him!)

Special Agent Merton’s first big assignment is to ride along with a bank shipment of half a million dollars in cash. At the same time, Tracy is concerned about a criminal recently released by a “soft-hearted parole board”: Pa Stark, who, along with his gang of five sons, is thought to be operating out West. Could it be that Tracy is about to cross paths with the Starks, and that the bank shipment Merton is guarding is their next target?

Dick Tracy Returns is the second serial based on Chester Gould’s long-running newspaper comic strip (begun in 1931), and it is, in the words of mystery writer (and sometime Dick Tracy writer) Max Allan Collins, “the serial most like the strip.” This is true not just in the emphasis on solid police work over fantastic special effects or melodrama–unlike the previous serial, there are no “flying wings” or “sound disintegrators,” no mad scientists, and even the main villain, Pa Stark, is known and unmasked from the beginning (catching him is another matter)–but in the assortment of colorful side characters, the devious ways the criminals attempt to worm their way out of the various jams they find themselves in, and even the tendency of characters (heroes and villains alike) to hide in unlikely places that turn out to be potential deathtraps.

The few high-tech wonders that are included in the story are much more modest–no synthetic radium here–and serve to move the story forward rather than thrilling in themselves: a super cutting torch is stolen from the Navy so that the Starks can use it to cut into a jewelry store’s vault; a “torpedo speedboat” is stolen to sell it to a foreign power; likewise a scheme to steal the motor of an experimental airplane. (One exception is a remote television viewer that allows Tracy to witness the hijacking of the torpedo boat out at sea while he is on the shore, but even then it’s presented matter-of-factly.) As Collins points out (in his introduction on the DVD copy I watched), “Of all the Dick Tracy serials, this is the Dick Traciest!”

Having said all that, Dick Tracy Returns clearly follows Dick Tracy (1937) in continuity, however loosely: Ralph Byrd returns in the starring role; Tracy is still a G-Man in the West rather than a Chicago police detective; and the supporting characters surrounding him are the same, although recast: Steve Lockwood (Michael Kent, replacing Fred Hamilton) is Tracy’s partner, Gwen Andrews (Lynn Roberts, replacing Kay Hughes) his assistant, Mike McGurk (Lee Ford, replacing Smiley Burnette) is the bumbling comic relief, and Junior (Jerry Tucker, replacing Lee van Atta) is still present, now officially Tracy’s ward and attending military school.

A subvillain from the first serial, foreign agent Baron Kroner (Harrison Greene), makes an appearance (or does he?), commissioning the Starks to steal a remote-control tank for his government. (Greene’s character was listed under a different name in the 1937 serial, but come on–in an era of interchangeable gangsters in fedoras and pinstripe suits, there are two monocle-wearing German spies, played by the same actor?) Tracy’s brother Gordon, turned evil and then killed in the previous serial, is never mentioned, of course: the demands of continuity only extend so far.

Despite the somewhat lower stakes in this serial (the Starks are extortionists and racketeers with their hands in many criminal enterprises, but they’re mostly in it for the money), the action and cliffhangers are just as exciting; in this case, the (relative) plausibility helps sell the danger and increase the stakes. The colorful staging areas for fight scenes and cliffhangers include a powerhouse, railroad yards, a fertilizer plant, a multilevel parking garage, and a mine tunnel under an observatory (just in case you thought Gotham City had a corner on abandoned facilities used as criminal hideouts!).

As the title character, Ralph Byrd is good-natured, sociable, but deadly serious when it comes down to it. And true to the comic strip, many of the clues the G-Men track down are of the mundane, forensic variety: dusting for fingerprints, tracing tire impressions, recovering serial numbers ground off of metal, and interviewing suspects. True, many of the leads Tracy and company follow up are arrived at by coincidence, and the serial doesn’t show the huge number of dead ends that usually crop up in investigation, and it’s awfully convenient that pretty much everything that happens in the serial is related to the Stark case, but by the standards of many other serials, it’s gritty realism.

Lee Ford, who replaces Smiley Burnette as Mike McGurk, doesn’t really hit the comic relief notes as effectively as Burnette did. As cliché as the “funny fat man” role could be, and as stupid as Burnette’s clowning often was, Burnette played the role (like most of his comic roles) as essentially a grown-up kid, a well-meaning but innocent blowhard: in Dick Tracy (’37) the character is introduced trying to impress a group of children with his (imagined) football prowess, and the pranks Junior pulls on him are in part justified by McGurk’s attempts to pull rank on Junior. The fact that Junior is more capable than him, and they are essentially equals, is part of the joke. In Dick Tracy Returns, Ford’s McGurk is more pathetic than funny, the pratfalls even more pandering.

Where Dick Tracy Returns really soars is in its focus on the villain: Pa Stark, the patriarch of the criminal family (partially based on Ma Barker), is played by Charles Middleton, Ming the Merciless in the Flash Gordon serials and frequent serial heavy. Free of the ornate costume of Mongo and the aristocratic pretensions of some of his other roles, what is most striking is Middleton’s craggy face, and the directness of his character, free of fussy high-toned verbiage, stripped down to the essence: Pa Stark is mean and ruthless, and he doesn’t accept excuses or pussyfoot around. It’s the kind of characterization we might get today from James Cromwell or Liam Neeson, and like them Middleton’s Stark has a particular set of skills and woe to any who underestimate him.

Of special interest is this spin on the typical criminal mastermind: like many serial villains, Pa Stark works through underlings, but since they are his sons, there is a poignant sting when they are caught or killed, and since he works alongside them, he faces off against the G-Men and is nearly caught himself several times (distinctly unusual for a serial, but true to the comic strip). As the noose tightens around Stark, and his sons fall one by one, his motivation becomes focused on revenge against Dick Tracy. Stark may die, but he’ll take Tracy with him if it’s the last thing he does.

What I Watched: Dick Tracy’s Return (Republic, 1938)

Where I Watched It: Dick Tracy Complete Serial Collection from VCI Entertainment

No. of Chapters: 15

Best Chapter Title: “Four Seconds to Live” (Chapter Four)

Best Cliffhanger: Chapter Nine, “The Clock of Doom,” is an unexceptional “economy chapter” (i.e. a recap using footage from earlier chapters), but the cliffhanger that ends it is so simple, and so satisfying, that it is easily my favorite. In the chapter, Dick Tracy meets with a group of civic leaders to allay their concerns that the Bureau isn’t doing everything it can to halt the Stark-led crime wave. Attracted by the publicity for the get-together, Pa Stark hires a killer whose face is unknown to Tracy or the Bureau, a smug prick dapper, meticulous fellow known only as “The Duke.” The Duke (Larry Steers) comes to the meeting as “Mr. Reeves” from the Phoenix Chamber of Commerce, just one of several interested parties. While Tracy describes the case and its challenges (the perfect opportunity for copious flashbacks to chapters two and three), the Duke activates the timer on a bomb hidden in his briefcase.

Soon, at Gwen’s summons, Tracy excuses himself to hear what she has to say: there is no Mr. Reeves on the Phoenix Chamber of Commerce! Tracy returns to his office to find that “Mr. Reeves” has been called away suddenly and has “accidentally” left his briefcase there, and that Junior, unaware of the danger, has picked it up and is attempting to return to its owner, even chasing the hit-man’s car down the street yelling “HEY, MISTER! WAIT!”

The last shot of the chapter shows Dick Tracy on the sidewalk, recoiling in horror as an explosion is heard from offscreen. Well, of course it’s obvious what happens, but that doesn’t make it any less satisfying: sure enough, as the next chapter begins, Junior flings the briefcase into the Duke’s car, seconds before it explodes, destroying the car and taking the Duke with him. It’s a well-deserved end to a somewhat less than foolproof plot, and the fact that Junior was just trying to help out that nice Mr. Reeves makes it all the more deliciously ironic.

Best Stark Son: Like any good gang, Pa Stark’s five adult sons come furnished with nicknames (Kid, Trigger, Dude, Slasher, and Champ) that telegraph their personalities (and to a lesser extent their criminal specialties). But which one steals the spotlight?

Although he is the first one eliminated, Kid Stark (Ned Glass) has the most clearly defined personality, combining swagger and snottiness (and a near-Bugs Bunny Brooklyn accent none of the other brothers share) like a serial-budget Jimmy Cagney. After the Starks plug Ron Merton during the armored car holdup, the Kid goes back to the scene of the crime to make sure the job is finished, holding an innocent cab driver at gunpoint. Chased by Dick Tracy, the cab crashes, and when Tracy pulls up to the accident scene, Kid has the balls to pretend that he was merely an onlooker. “Worst one I ever seen. . . . Poor fellas, they never had a chance,” he says, holding his arm in hopes that Tracy won’t notice how battered he is. But with a broken ankle the Kid is in no shape to run away, and he is promptly arrested. The Starks gamely make an attempt to secure the Kid’s release, but (in a montage of newspaper headlines) he’s tried and sentenced to die before the second chapter is even over. R.I.P. Kid Stark

Sample Dialogue: “Your real teachers are the criminals you’re going to run into from now on. They’ll chalk up a lesson every time you meet them. If you don’t pass . . . curtains.” –Dick Tracy to Ron Merton, Chapter One (“The Sky Wreckers”)

What Others Have Said:Dick Tracy Returns was a more polished serial than its predecessor, because it was made a crucial year after Dick Tracy, and primarily due to the directing team of William Witney and John English. It provided much action that could be later reused in the further serial adventures of Dick Tracy. Its main drawback was in the use of economy chapters.” (see above) –Jim Harmon and Donald F. Glut, The Great Movie Serials: Their Sound and Fury

What’s Next: I return to the city of Metropolis with the 1950 superhero epic Atom Man vs. Superman!

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