although not in the same league as GANG BUSTERS and the 1945 SECRET AGENT X-9, is similar to them in its use of interesting characters, good actors, and an interesting, developing plot that makes up for the lessened action scenes. There are some good fistfights, though, and a few excellent cliffhangers, particularly the superbly shot sequence where hero Milburn Stone is trapped in an electrically-charged corridor. Directors Ray Taylor and Lewis D. Collins maintain a steady, consistent pace and the serial never drags in its dialogue scenes or bogs down in complications, unlike THE SCARLET HORSEMAN or JUNGLE QUEEN, some of its Universal contemporaries. The script--by Joe O’Donnell, Ande Lamb, and George Plympton--is intelligent and involving, and keeps adding new twists throughout. (SPOILERS AHEAD) It doesn’t give us much of a mystery as to who the Master Key is, though--we’re limited to basically two suspects--but the solution is still pretty unique.

The actors are uniformly excellent; there’s not a bad performance in the serial. Milburn Stone, an unlikely hero at first glance if you’re familiar with GUNSMOKE, is terrific as Tom Brant. He’s tough, determined, and resourceful, but also energetic and even a bit excitable. His moustache here makes him look even more like his later Doc Adams character than he did in GREAT ALASKAN MYSTERY, but it doesn’t interfere with acceptance of his performance in any way.

 Dennis Moore is also good as the phlegmatic and no-nonsense second lead, delivering an occasional wisecrack to offset his deadpan approach and dominating many a crime scene with that distinctive voice of his. Moore’s allowed to show far more animation here than in THE PURPLE MONSTER STRIKES at Republic, and shows he was indeed a most underrated actor.

Addison Richards, a Class A character actor if ever there was one, has his best serial role as the smooth, dignified, and ruthless Garrett Donohue. Cool as a cucumber and always in command of the situation, Richards is far more menacing than a more snarling, frustrated villain would be. His polished nastiness is reminiscent of one of George Sanders’ villainous performances. That may sound like exaggerated praise, but Richards is worthy of the comparison.

It was a treat to discover the wonderfully sinister George Lynn was the action heavy in THE MASTER KEY, since I had thought his only big villain role was in SECRET AGENT X-9. Here, as in X-9, he’s the last word in brusque, efficient “henching”, snapping out curt orders to underlings and rushing from one evil deed to the next with alacrity. Lynn and a shifting squad of disposable henchmen handle most of the active villainy, with a periodic assist from Richards--or from talented Dutch actor Roland Varno, as the treacherous and knowledegable Hoff.

Byron Foulger, usually a weaselly little coward in his screen roles, displays unexpected versatility as Professor Henderson, giving the character inner strength and dignity, and enlisting our sympathies strongly on the Professor’s side. We really worry about Henderson and feel for him, especially when he escapes from the Nazis only to contract amnesia and go back to his lab, unaware the villains are after him.

Russell Hicks is his usual suave and statesmanlike self as Police Chief O’Brien, while Maris Wrixon (an occasional leading lady to Gene Autry and Roy Rogers) is his competent secretary. George Eldredge does a good job in the first four chapters as the slippery Walter Stark, whose smug, careless criminality is balanced by his genuine affection for his sister. Joe Devlin is a headquarters henchman throughout the serial, Dick Curtis makes a brief but memorable appearance as a sinister “surgeon,” and Pierce Lyden and John Merton pop up in Chapter Six as Key operatives. Ernie Adams is delightful as Flash Faust, a jumpy little crook who’s most unwillingly pressed into the Master Key’s service by Donohue and Herman in Chapter Two, and William Haade has a quick cameo as a very dull-witted thug. And watch for Edmund Cobb (as a railroad switchman), Richard Alexander (as a bouncer), Gene Roth (as a gangster), Jack Rockwell (as a henchman), George Chesebro (as a fireman), and Forrest Taylor (as a doctor).

Without giving anything away, I can also reveal that the voice of the Master Key is done by Arthur Loft. This is perhaps the only serial that has a logical explanation for why the villain talks in a different voice than that of the suspect he turns out to be, but I won’t say more. It’s just one more interesting twist that makes THE MASTER KEY a worthwhile serial experience.