Watching RKO's The Falcon

As a series of posts, co-director James Harrison takes us on a trek while watching RKO’s The Falcon series (1941 – 1949). Please Note: these notes are works in progress as James watches the series throughout December 2026.

It’s been a usual staple for me for many years that, when Christmas begins to appear on the horizon, I line-up a selection of films to view throughout December. This list of films could be connected either by filmmakers or stars; or the list could be made up of a random theme or subject or, to make it much easier, a franchise itself.

Past lists have included the films of Mae West, W.C. Fields, Joan Crawford, Bette Davies, William Powell, The Marx Brothers, John Ford, Howard Hughes, Samuel Fuller, André De Toth, William Wyler, Ernest Lubitsch or even the early films of James Cagney or Humphrey Bogart as well as franchises such as The Thin Man series and even Tarzan from what I can remember over the years. There has been the odd modern film list as well including Bruce Lee, Police Academy, Die Hard as well as the Lethal Weapon franchise.

This year, I’m taking on RKO Radio Pictures’ Falcon crime series (16 films in total). First starring George Sanders (1941-1942) as Gay Lawrence and then replaced by Sanders’ own brother, Tom Conway (1943-1946), who then handed over the baton for three final films to John Calvert (1948-1949).

The Falcon series was very much, like its predecessor, The Saint film series, a backbone for RKO’s production line, a regular project that would keep stalwart RKO staff busy for nine years until the almighty Howard Hughes purchased the studio and very much pressed the reset button when it came to productions under the RKO banner.

The following is very much my own thoughts about each film and how the franchise developed/changed over the course of eight years. Noting any minor changes when it comes to either the creative or editorial side of things, on and off camera. Think of it as an observational mush of notes, no spoilers, nothing overly critical; I shall leave that to others.

The Gay Falcon (1941)

Director: Irving Reis / Starring: George Sanders, Wendy Barrie, Allen Jenkins, Nina Vale

Running Time: 67mins

The Gay Falcon (1941) is the first film that introduces us to Gay ‘The Falcon’ Lawrence (George Saunders) and yet, in his (and the film’s) universe The Falcon is well established personality; known by many, known by women and known by the police. We have to except his popularity and celebrity. No time for an origin story here for writers Frank Fenton, Lynn Root and director Irving Reis, the film’s running time is 67 minutes after all. To be honest, classic Hollywood audiences didn’t need origin stories; they just lived with it.

Anyways, Gay Lawrence needs to stop ‘having adventures’ as he seems to want to marry and become a stockbroker; his plan is, as his colleagues states, “No more mysterious, no more dames!” and yet, even from the opening sequence we know he’s going to have a problem keeping away from both of these “hobbies”. The Falcon’s plans for marriage probably won’t last and neither will his dedication to spinach juice instead of alcohol.

This was also the first of three Falcon films in a row directed by Irving Reis. Reis would leave the franchise with The Falcon Takes Over (1942) and would go on to direct RKO’s Hitler’s Children (1943) and Edward G. Robinson and Burt Lancaster father and son noir All My Sons (1948).

Behind the camera, cinematographer Nicholas Musuraca; the RKO genius Cat People (1942), The Seventh Victim (1943), The Ghost Ship (1943), The Curse of the Cat People (1944), The Spiral Staircase (1946), Deadline at Dawn (1946) and The Locket (1946).

A couple of drop gags about Sherlock Holmes here, plenty of light comedy elements but with the crime thriller element wrapped around it. Maybe too much comedy for me. A mortuary attendant reading the newspaper funnies anyone? Still fun tho.