DICK TRACY RETURNS (1938)

 

PHENOMENALITY: *uncanny* 
MYTHICITY: *poor*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *sociological*

In my review of Republic Studio's 1937 DICK TRACY serial, I mentioned that its idea of pitting the comic-strip police detective-- upgraded to a "g-man" by Republic-- against a virtual "supervillain" went very much against the content of the strip. The closest thing the strip had to a masked marauder was a fellow called "the Blank," and he didn't appear until October 1937, roughly ten months after the serial-Tracy contended with "the Spider."

DICK TRACY RETURNS is closer to the general content of the comic strip during the 1930s, wherein most of the villains were fairly down-to-earth, lacking the freakish features that predominated in Tracy villains from the 1940s and thereafter. In RETURNS, G-man Tracy pursues the Stark Gang, six ruthless professional crooks always garbed in plain clothes, and consisting of leader Pa Stark (Charles Middleton) and his five sons. Only in a handful of the serial's fifteen chapters does metaphenomenal content arise. In an early chapter, the Starks get involved in trying to steal the army's new radio-transmitter for the benefit of a foreign power, which would seem to indicate the extent to which even pre-war America anticipated getting pulled into the World War abroad. The invention, which seems to be the same as a later-discussed invention that combines elements of a telescope and a television, would seem to fall into the domain of the uncanny, though it functions as no more than a basic "McGuffin." Most of the time the Starks use only commonplace weapons, but in one episode, they booby-trap Tracy with a flash-camera gimmicked with tear-gas-- and this scene provides slightly better justification for gauging the serial's phenomenality as uncanny.

Such matters aside, the bulk of the serial focuses on the numerous schemes of the Starks and the efforts of Tracy and his fellow g-men to trap the crooks. As in the previous installment, the villains don't have one overriding plan, but continuously come up with new plots, usually oriented on simply making money. Middleton, who gained a measure of cinematic immortality as "Ming the Merciless" in FLASH GORDON, makes a good foil for Ralph Byrd's Tracy, particularly when, as the serial progresses, Pa keeps losing son after son to G-men gunfire. Still, given Republic's concentration on fistfights and car-chases, the potential melodrama is never realized. Still, at least all of the Stark boys are given some individuality, which is more than one can say of Tracy's assistants, particularly a rather pusillanimous version of Tracy's kid-ward Junior.