The Dark Side of Robert Young

Robert Young plays an embezzler and a womanizer whose luck runs out in THEY WON’T BELIEVE ME (1947), an underrated film noir.

When most baby boomers think of actor Robert Young, they probably recall his popular TV medical series Marcus Welby, M.D. (1969-1976) where he was the epitome of the kind, compassionate doctor or they remember Jim Anderson, the perfect dad in the all-American family sitcom Father Knows Best (1954-1960). He was also typecast as “Mr. Nice Guy” in most of his Hollywood films, playing cheerful romantic leads or the leading man’s best friend or some other debonair, noble or well-intentioned character who rarely made a strong impression compared to more assertive male leads like Clark Gable, Gary Cooper or Spencer Tracy. But there were several occasions when Young discarded his good guy image by playing shadowy characters, outright villains, or damaged human beings.  Among these atypical casting choices, Young is most memorable in Alfred Hitchcock’s Secret Agent (1936) as an undercover spy, a budding fascist in The Mortal Storm (1940), a shellshocked and physically maimed war veteran in The Enchanted Cottage (1945), a complete cad and accused murderer in the underrated film noir They Won’t Believe Me (1947), directed by Irving Pichel, and an architect who is suspected of being a dangerous criminal in The Second Woman (1950).

Robert Young as the star of the popular TV series, MARCUS WELBY, M.D. (1969-1976).
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The Watcher and the Watched

The Polish film poster for A SHORT FILM ABOUT LOVE (1988)

A lonely nineteen-year-old boy watches his neighbor Magda (Grazyna Szapolowska) through binoculars as she moves about her apartment across the courtyard in her underwear. Tomek (Olaf Lubaszenko) has been spying on this alluring older woman for almost a year and he has his routine down to a fine science, which includes setting his alarm clock to go off at the time she comes home from work so he won’t miss a thing. He soon graduates from binoculars to a telescope he stole from a local school. He also calls her up occasionally on the telephone but never has the nerve to say anything. His obsession, however, has come to the point where he requires more direct contact and so he begins to manipulate some face to face encounters with Magda through his work as a postal clerk and a milk delivery man for the apartments. While this basic premise for Polish filmmaker Krzysztof Kieslowski’s Krotki Film o Milosci (English title: A Short Film About Love,1988) sounds like the set-up for a creepy voyeur thriller in the vein of Rear Window (1954), Psycho (1960), or Peeping Tom (1960), the movie that unfolds goes in a completely different direction, depicting two lonely souls – one cynical, the other naïve – who forge a unique connection through unlikely circumstances.

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