Dick Tracy’s G-Men begins where most serials end: with the capture and execution of a supervillain. A newsreel begins the first chapter by introducing Nicolas Zarnoff (Irving Pichel), a “master spy” with a hand in disrupting and overthrowing governments all over the world. The newsreel shows footage of Dick Tracy and the men of the FBI’s Western Division capturing Zarnoff in a daring raid, and concludes with Zarnoff’s sentence of death in the gas chamber. After viewing the newsreel and approving it, Tracy is summoned to Zarnoff’s cell for a few last words, and we learn through dialogue just how wily and dangerous he is: he attempts to direct Tracy to a previously undisclosed hideout, but Tracy cuts him off. The G-men have already been there and defused the bomb Zarnoff had hidden in a safe to finish them off. This sets the tone for the serial: trap and counter-trap.
Tracy departs after Zarnoff vows his revenge. Then Zarnoff receives his last request: copies of all the major daily newspapers. Finding a hidden message from his associates in one of them, he tears up strips of the paper and moistens it in a cup. Drinking the water, he goes quietly to the gas chamber, only for his body to be stolen by his underlings and revived later. After investigating, Tracy learns that a drug known only to the Kali* priests of India was mixed into the ink at the newspaper printing press; by ingesting it, Zarnoff was able to stop his heart and breathing and insulate himself from the lethal gas for a time until he could be revived. Once free, he takes up his criminal enterprises where he left off, with an extra dose of vengeance for the only man to ever capture him: Dick Tracy!
* Pronounced “Kay-lie.” Pronunciation in these films is something I haven’t mentioned before, but there are a few that sound eccentric to modern ears, and not only foreign terms that are now more familiar. Columbia’s announcer habitually pronounces “ally” with the emphasis on the second syllable, as “al-LIE,” and in this serial a henchmen speaks of “DEE-tonating” a bomb. Whether these are relics of older accents or pronunciations from a time when such things were less standardized in broadcasting than they are now, or simply slips of the tongue that were left in due to the hurried “one take” method of filming serials, I’m not sure.
Where 1937’s Dick Tracy has much in common with other serials in its masked mastermind and brainwashed brother, and Dick Tracy Returns is tonally similar to Chester Gould’s comic strip, Dick Tracy’s G-Men seems to draw a great deal of inspiration from the pulp magazines that were contemporary to it. For one thing, there is a great deal of well-executed action, including excellent fight choreography and stuntwork. More importantly, the exoticism of a secret drug mixed into newsprint is just one of many examples of bizarre gimmicks that could be torn from a Ripley’s Believe it or Not! strip, or from the adventures of the Shadow or one of the many knock-offs of Sax Rohmer’s Fu Manchu (or, looking ahead a few decades, the kind of thing Ian Fleming’s James Bond might run into). In another chapter, Zarnoff traps Tracy and his partner Steve Lockwood in a barred room, electrified by a sparking dynamo, and the settings in this serial are even more wide-ranging and colorful than usual, from a lighthouse to a deserted Old West ghost town. Like many serial villains, Zarnoff has hideouts and connections in all manner of places: an abandoned cannery, a fur store, a diving bell hidden beneath a dam, and several houses, cabins, and hotel rooms. Even the conclusion, with Tracy and Zarnoff stranded alone together in the desert, is different in character from the typical serial confrontation, like something out of a men’s adventure magazine and featuring a moralistic O. Henry twist (although it is similar to the ending of Dick Tracy Returns in that it gets the hero and villain alone together by means of an attempted airplane escape).
Allowing for the generally vague politics of serials, Dick Tracy’s G-Men is also more political than its predecessors: as mentioned, Zarnoff is a “master spy” credited with destabilizing democratic governments. A few years earlier, such a villain would have probably been described as a “revolutionary” (code for an anarchist or communist, matching Zarnoff’s beard and Russian name), but Zarnoff is more of a mercenary terrorist, selling his services to the “Three Powers,” a consortium of foreign governments (unnamed, but guess which “three powers” were causing anxiety in the U.S. in 1939?). Zarnoff’s plots include trying to kill the visiting President of a Latin American country, the sabotage of major installations like dams and canals, and the theft of secret plans for weapons and military operations. Whatever his motives, the fact that he is haughty, cynical and almost unnaturally cool-headed (one might say cold-blooded) makes it easy to root against him.
Ralph Byrd returns in the lead role, even more jolly than usual, but the supporting cast has once again been shuffled: Junior and Mike McGurk are nowhere to be found in this serial. Steve Lockwood (Ted Pearson) and Gwen Andrews (Phyllis Isely, who would soon change her stage name to Jennifer Jones) remain in Tracy’s office, played by different actors, and additional support comes from interchangeable agents Scott (Robert Carson) and Foster (Julian Madison).
Zarnoff’s main henchman, Robal, is played by Walter Miller, and to me he looks an awful lot like Ralph Byrd. The fact that he generally wears dark suits and Dick Tracy wears light ones makes it easier to tell them apart, so I guess the cliché about white hats and black hats holds true. It’s a pity that nothing is ever made of their resemblance, like Robal trying to infiltrate the FBI or something like that; maybe Miller should have played Gordon Tracy in the 1937 serial. (And as for that name: “Robal” sounds like something from a Steve Ditko comic, but Chester Gould did have a penchant for using backwards spellings for character names–Professor Emirc, anyone? So was Robal a hidden commentary connecting Labor and un-American activity, or is it simply that Robal is Zarnoff’s “workhorse”? Who knows?)
An uncredited appearance is made by Sammy McKim, who played young Kit Carson in The Painted Stallion, as a boy who helps Tracy get out of an explosive-filled mineshaft in the ghost town chapter. As a child actor, McKim specialized in Western types, so it’s fitting that he makes an appearance for the Old West themed episode.
Interestingly, Harrison Greene, this time credited, returns for one scene as “the Baron,” a representative of the Three Powers interested in obtaining military secrets. Whether he is the same Baron seen in the previous two serials is anyone’s guess, but Greene is apparently the only actor besides Ralph Byrd to appear consistently in the Dick Tracy serials.
What I Watched: Dick Tracy’s G-Men (Republic, 1939)
Where I Watched It: Dick Tracy Complete Serial Collection, VCI Entertainment
No. of Chapters: 15
Best Chapter Title: Chapter titles include both “Sunken Peril” (Chapter Six) and “Caverns of Peril” (Chapter Eleven), but my favorite is Chapter Ten, “Crackling Fury” (an apt description of the sparking dynamo that Tracy and Steve are locked in with).
Best Cliffhanger: One thing that can be said of Republic’s cliffhangers is that they are almost always well-integrated into the plot. The chapter title frequently gives a hint as to the peril that the hero will face at the end, and enough foreshadowing is given–a bit of dialogue or a close-up on some innocuous prop that will become the instrument of doom–that the danger can be seen coming–or could have been seen if only the hero had been more careful. In Dick Tracy’s G-Men, the typical car, airplane, autogyro (!), and dirigible (!!) mishaps are alternated with some truly fiendish and inventive death traps. This is the real stuff, serial fans.
In Chapter Two (“Captured”), Dick Tracy is bound and gagged and placed behind a locked door with a pistol rigged to shoot at whomever tries to open it; Zarnoff figures that the stray shot will force the trigger-happy G-men to spray the door with machine gun fire, executing their helpless boss. (And it almost works, too!) In Chapter Eight (“Chamber of Doom”), Tracy is nearly asphyxiated in a furrier’s fumigation room (surely a source of ironic satisfaction for Zarnoff, who faced his own gas chamber in Chapter One!); in Chapter Thirteen (“The Fatal Ride”), Tracy, Lockwood, and FBI Director Anderson are nearly gassed again in the sealed back seat of a taxi cab driven by one of Zarnoff’s men. Only a convenient air tube gets them through that one.
Upon reflection, however, my favorite cliffhanger is the one closing Chapter Four (“The Enemy Strikes”). This chapter takes place in and around a barge filled with explosives. Zarnoff knows that Tracy has tracked him to a dockside salvage outfitter, so he lays a trap, putting a time bomb in the hold of the barge. While Tracy and the G-men shoot it out with the bad guys on the multi-level barge, the timer ticks away; the cliffhanger, however, is not the explosion of the bomb. Dick Tracy discovers the time bomb and throws it overboard, where it explodes harmlessly. Rather, it is set in motion when Robal throws a barrel at Tracy. Tracy dodges the barrel, but instead of continuing to focus on their fight, the camera follows the barrel as it rolls from one ledge to another, Donkey Kong-style, until it lands in the water. There it bobs between the barge and another barge next to it, until the current brings them together: at first, the barrel bulges as it is squeezed, but it eventually splinters beneath the pressure. The danger is clear. Sure enough, Tracy is knocked out and falls into the water, between the two barges, where it is only a matter of time before he suffers the same fate as the poor barrel. Here comes the tugboat to push the barges together. . . .
Sample Dialogue: “I have cheated the law, outwitted the deadly science of the lethal chamber, but at a price no mortal man was ever expected to pay. That ancient drug was brewed by the alchemists of Satan. Tracy forced me to it. Tracy must die.” –Zarnoff in Chapter One, “The Master Spy” (Zarnoff was supposedly modeled after Boris Karloff, but only Chapter One, with its echoes of Frankenstein, really leans into the horror elements; at first after his resurrection, Zarnoff is shaken, and his appearance frightens his henchmen, but in later chapters he appears to have recovered his equilibrium.)
What Others Have Said: “These serials were a definite departure from the comic strip, omitting key characters such as Tess, Pat Patton and Chief Brandon, and emphasized Tracy as the ultimate dedicated lawman, asking no quarter and giving none in his battle against crime. Even as kids we knew that liberties had been taken in transferring Dick Tracy to the screen, but as action fans we didn’t care.” –William C. Cline, “Remakes and Side Effects” in Serials-ly Speaking: Essays on Cliffhangers
What’s Next: My schedule permitting, I should have just enough time to watch and write up the fourth and final Dick Tracy serial, Dick Tracy vs. Crime, Inc. before the end of summer!