To 'B' Movie, or Not To 'B' Movie.
A Few Reviews
These reviews focus on noir, and/or fringe-noir B movies. The direction, cinematography and acting in these B's are often as good as the better financed films. My major criteria for my recommendations are simple. I don't want to feel I've wasted my time after seeing a movie. Nor, do I want to sense the director and/or actors couldn't give a rat's behind about the quality or enjoyability of the finished product. I’ve added my reservations when it comes to certain movies.
BLACK TUESDAY
4.25/5 Stars
1954-80 minutes
Director--Hugo Fregonese--Apache Drums
E.G. Robinson--Double Indemnty, The Night Has A Thousand Eyes, Key Largo
Jean Parker--Little Women, The Gunfighter, Dead Man's Eyes
Peter Graves--Stalag 17, The Night of The Hunter, Airplane
Supporting: Warren Stevens, Sylvia Findley Jack Kelly, Russell Johnson, Frank Ferguson
Director--Hugo Fregonese--Apache Drums
E.G. Robinson--Double Indemnty, The Night Has A Thousand Eyes, Key Largo
Jean Parker--Little Women, The Gunfighter, Dead Man's Eyes
Peter Graves--Stalag 17, The Night of The Hunter, Airplane
Supporting: Warren Stevens, Sylvia Findley Jack Kelly, Russell Johnson, Frank Ferguson
For much of the early to mid fifties Mr. Robinson was limited to low budget B films due to the Hollywood Studios unjustly blackballing him. That did not prevent the consumate professional from displaying the same grace, class and intensity for those films as he did in Scarlet Street, The Sea Wolf or Key Largo to name a few. Of course one might say that there are no B films if Edward G. is in it. Take Black Tuesday, please, Mr. Robinson is Vincent Canelli. Canelli is the main attraction of a two-fer execution with Peter Manning (Peter Graves) as the following act. Robinson made his screen bones, so to say, playing gangster and Black Tuesday has him playing perhaps his most sadistic, sociopathetic gangster of them all.
A few minutes before he and Manning were to sit in ol' Sparky's lap a confederate (Warren Stevens) helps Vince and Peter escape. They release the other death row residents and it's a full scare breakout with a guard killed, hostages taken and murderes about to invade civil society. Manning is shot. He has $200,000 stashed away and Canelli wants to make sure he survives. There is nothing redeemable about Canelli. He's willing to shoot hostages even a Priest (Milburn Stone) and cares for noone but himself and his girlfirend Jean Parker. She was the one who planned the prison break, found a hide-out and arranged a plane for a flight out of the country. One scene that I particulary liked was when they escaped in their getaway van, despite vehement protests, he forces the other inmates out, keeping only Manning and a few hostages. He hands one an empty revolver. Canelli throws the bullets out on the street and barks that they have a gun and three bullets.
The gang drives to a warehouse. The plan is to have the doctor assigned to the executions heal Manning, then for Manning to get the 200 grand and with the pilot also at the warehouse fly out of the country. The great majority of the movie takes place in the areaenclosed area of a warehouse. This scenario could be problematic as there's the risk of adding too much chatter; too much forced drama to make up for a lack of physical action. However Hugo Fregonese also directed a similar situation in the very good Apache Drums. The claustophobic setting is right up EG's alley. Mr. Robinson gives a bravura display of cruelty. His viciousness is exacberated by the closed confines of the warehouse.
A few minutes before he and Manning were to sit in ol' Sparky's lap a confederate (Warren Stevens) helps Vince and Peter escape. They release the other death row residents and it's a full scare breakout with a guard killed, hostages taken and murderes about to invade civil society. Manning is shot. He has $200,000 stashed away and Canelli wants to make sure he survives. There is nothing redeemable about Canelli. He's willing to shoot hostages even a Priest (Milburn Stone) and cares for noone but himself and his girlfirend Jean Parker. She was the one who planned the prison break, found a hide-out and arranged a plane for a flight out of the country. One scene that I particulary liked was when they escaped in their getaway van, despite vehement protests, he forces the other inmates out, keeping only Manning and a few hostages. He hands one an empty revolver. Canelli throws the bullets out on the street and barks that they have a gun and three bullets.
The gang drives to a warehouse. The plan is to have the doctor assigned to the executions heal Manning, then for Manning to get the 200 grand and with the pilot also at the warehouse fly out of the country. The great majority of the movie takes place in the areaenclosed area of a warehouse. This scenario could be problematic as there's the risk of adding too much chatter; too much forced drama to make up for a lack of physical action. However Hugo Fregonese also directed a similar situation in the very good Apache Drums. The claustophobic setting is right up EG's alley. Mr. Robinson gives a bravura display of cruelty. His viciousness is exacberated by the closed confines of the warehouse.
There are times the screen is too small for five foot six Robinson. He hardly raises his voice. His face is contorted with an ugliness that comes from the inside of a man's soul. There is a great deal of respect shown to him by his minions. This is to be expected when your boss is a sociopathic murderer. This could also be an unintended deference shown by the cast of being on the same set with the iconic Mr. Robinson.
The female leads are the aforementioned Jean Parker and Sylvia Findley. I was surprised to learn that Ms. Findley who looked much younger than Ms. Parker was eleven years her junior. Ms. Findley's birth year was 1904 and that made her fifty! Even by today's standards she looked remarkably young. This has nothing to do with the movie but I found it interesting.
Peter Graves does a good job as murderer Pete Manning. Manning's looks and demeanor and his contrast to Canelli make the viewer hope that Manning will turn out to be a good guy; that somehow he was framed for the murder. But, that's not the case. He has killed and he kills a guard and makes every attempt to kill the cops who have surrounded the warehouse. To the film's credit he has killed only for greed, there are no sob stories, no history of a troubled youth, he is, as Canelli a cold-blooded killer. But a guy with All-American looks can't be all bad, or can he?
Robinson's character evokes no sympathy from the audience. He is a detestable loathsome human being, and yet he keeps our interest. In a career where he played men a man full of complications, motivations, emotions (Scarlet Street, The Sea Wolf Definitely. and The Red House are examples) Robinson elevates what could have been a caricature into another memorable character.that with a lesser actor might have been a caricature of pure evil into another of his memorable characters. There are too many films of Mr. Robinson's great performance to mention, but Canelli should be recognized as one of them.
The female leads are the aforementioned Jean Parker and Sylvia Findley. I was surprised to learn that Ms. Findley who looked much younger than Ms. Parker was eleven years her junior. Ms. Findley's birth year was 1904 and that made her fifty! Even by today's standards she looked remarkably young. This has nothing to do with the movie but I found it interesting.
Peter Graves does a good job as murderer Pete Manning. Manning's looks and demeanor and his contrast to Canelli make the viewer hope that Manning will turn out to be a good guy; that somehow he was framed for the murder. But, that's not the case. He has killed and he kills a guard and makes every attempt to kill the cops who have surrounded the warehouse. To the film's credit he has killed only for greed, there are no sob stories, no history of a troubled youth, he is, as Canelli a cold-blooded killer. But a guy with All-American looks can't be all bad, or can he?
Robinson's character evokes no sympathy from the audience. He is a detestable loathsome human being, and yet he keeps our interest. In a career where he played men a man full of complications, motivations, emotions (Scarlet Street, The Sea Wolf Definitely. and The Red House are examples) Robinson elevates what could have been a caricature into another memorable character.that with a lesser actor might have been a caricature of pure evil into another of his memorable characters. There are too many films of Mr. Robinson's great performance to mention, but Canelli should be recognized as one of them.
I would put this film in the same category as Crashout, Female Jungle, Blast of Silence, Detour and Among The Living. They were all were low budget, with a paucity of set locations and action from the beginning to the end with a short running time. There were no frills, no filler, no fat only action.
By the early to mid fifties classical film noir had driven into the sunset. It was replaced by the grittier, violent films that would be precursors to the the violent films of the mid-sixties and seventies. The Hays Code was on its last legs by this time, and Black Tuesday had no small part in kicking them out from under.
In 1931 Robinson's Caesare Rico Bandello called out as he was dying, "Mother of Mercy! Is this end of Rico?" Twenty three years later it was appropriate that Black Tuesday and Robinson's Vincent Canelli would answer definitively and affirmatively.
By the early to mid fifties classical film noir had driven into the sunset. It was replaced by the grittier, violent films that would be precursors to the the violent films of the mid-sixties and seventies. The Hays Code was on its last legs by this time, and Black Tuesday had no small part in kicking them out from under.
In 1931 Robinson's Caesare Rico Bandello called out as he was dying, "Mother of Mercy! Is this end of Rico?" Twenty three years later it was appropriate that Black Tuesday and Robinson's Vincent Canelli would answer definitively and affirmatively.
DEATH IN SMALL DOSES
3.25/5 stars
1957---79 Minutes.
Director: Joseph M. Newman--711 Ocean Drive, Dangerous Crossing, This Island Earth.
Stars: Peter Graves--Stalag 17, It Conquered The World, The Night of The Hunter.
Mala Powers--Outrage, City That Never Sleeps.
Chuck Connors--Naked Alibi, Old Yeller.
Roy Engel---Familiar Face w/over 220 film credits.
Director: Joseph M. Newman--711 Ocean Drive, Dangerous Crossing, This Island Earth.
Stars: Peter Graves--Stalag 17, It Conquered The World, The Night of The Hunter.
Mala Powers--Outrage, City That Never Sleeps.
Chuck Connors--Naked Alibi, Old Yeller.
Roy Engel---Familiar Face w/over 220 film credits.
Peter Graves is an undercover agent who gets a job as a novice truck driver in order to break up an illegal amphetamine ring that is wreaking havoc among truck drivers and those who share the road with these hop-headed long distance carriers.
Death In Small Doses could have been a very good B Movie. The story line was topical with a plot that lends itself to sensationalism. There are no A or even B list actors, but it has an experienced cast and crew. The lead actors do a good job and there are several familiar character actors who do their usual dependable job. The film suffers from some very poor directing and, as in Follow Me Quietly, a lack of concern for doing anything but getting a film out to market.
Peter Graves will later make his mark in, Mission Impossible, another future TV star is Chuck Connors who will star in, The Rifleman. Connors plays Mink, a trucker who swallows bennies like people swallow Raisenets at a movie theatre. There is something scary about a giant of a man like Connors speeding his brains out. It’s like standing on the edge of Mt.Etna seeing there's lava bubbling at the bottom. Sooner or later the dang thing will explode. Mala Powers and Merry Anders are good as the female leads.
The film runs one hour and seventeen minutes and this film could easily have had ten minutes chopped off its running time. Under the direction of Joseph E. Newman the movie drags. It moves from staged set to another with little done to indicate a difference in time or day. It seems Newman had no inclination to show a little creativity with the cinematography. Yet, despite all the drawbacks there were some very nice twists and turns that could have made it a good B Movie.
In addition to the aforementioned actors there is a cameo by John Mitchum, who we all remember as Hoffenmueller in, F-Troop. Familiar faces are Harry Lauter and Roy Engel.
If there's nothing else on your queue you could do worse than this movie. It's a movie you won't mind pausing while answering the phone, getting gas for the lawn mower or vacuuming the house. Saying that:
I give this film a very tepid recommendation.
Death In Small Doses could have been a very good B Movie. The story line was topical with a plot that lends itself to sensationalism. There are no A or even B list actors, but it has an experienced cast and crew. The lead actors do a good job and there are several familiar character actors who do their usual dependable job. The film suffers from some very poor directing and, as in Follow Me Quietly, a lack of concern for doing anything but getting a film out to market.
Peter Graves will later make his mark in, Mission Impossible, another future TV star is Chuck Connors who will star in, The Rifleman. Connors plays Mink, a trucker who swallows bennies like people swallow Raisenets at a movie theatre. There is something scary about a giant of a man like Connors speeding his brains out. It’s like standing on the edge of Mt.Etna seeing there's lava bubbling at the bottom. Sooner or later the dang thing will explode. Mala Powers and Merry Anders are good as the female leads.
The film runs one hour and seventeen minutes and this film could easily have had ten minutes chopped off its running time. Under the direction of Joseph E. Newman the movie drags. It moves from staged set to another with little done to indicate a difference in time or day. It seems Newman had no inclination to show a little creativity with the cinematography. Yet, despite all the drawbacks there were some very nice twists and turns that could have made it a good B Movie.
In addition to the aforementioned actors there is a cameo by John Mitchum, who we all remember as Hoffenmueller in, F-Troop. Familiar faces are Harry Lauter and Roy Engel.
If there's nothing else on your queue you could do worse than this movie. It's a movie you won't mind pausing while answering the phone, getting gas for the lawn mower or vacuuming the house. Saying that:
I give this film a very tepid recommendation.
FEAR IN THE NIGHT
3.50/5 Stars
"I've got an honest man's conscience... in a murderer's body."
1947---72minutes
Director- Maxwell Shane--The Glass Wall, Nightmare
DeForest Kelley---Gunfight at the O.K. Corral, The Law And Jake Wade, Warlock
Paul Kelly--The Roaring Twenties,Crossfire, Split Second, The Glass Alibi, Side Street.
Ann Doran--The Man They Could Not Hang, Girls Of The Road, Pride Of The Marines, Rebel Without a Cause.
Kay Scott--
Jack Greenhalgh--Cinematography
Director- Maxwell Shane--The Glass Wall, Nightmare
DeForest Kelley---Gunfight at the O.K. Corral, The Law And Jake Wade, Warlock
Paul Kelly--The Roaring Twenties,Crossfire, Split Second, The Glass Alibi, Side Street.
Ann Doran--The Man They Could Not Hang, Girls Of The Road, Pride Of The Marines, Rebel Without a Cause.
Kay Scott--
Jack Greenhalgh--Cinematography
Vince Grayson (DeForest Kelley) wakes up sweating profusely from a nightmare where he has killed a man in what looks to be a hall of mirrors. There are hand prints around his neck, blood on his hands and a key in his coat pocket. He is certain it was not a dream. His brother-in-law cop (Paul Kelly) attributes it to stress due to Grayson’s job and upcoming marriage. Things get stranger when returning from a picnic with his fiancé, her sister and Paul, Vince directs them to seek refuge from the rain in an abandoned house. Grayson knows his way around the house yet swears he has never seen it before. He takes Paul upstairs and finds the mirrored room that is a duplicate of that in his nightmare.
Fear In The Night is an adaptation of Cornell Woolrich's story of the same name. That in itself should be enough to recommend this movie. This film has all the elements of what makes a good B-Movie. The running time is seventy one minutes. There are no A list actors, but that’s not needed, or necessarily a good thing to have in a B movie. What’s needed is competency and experience and that is true in Fear In The Night.
Max Shane did the screenplay and directed this fine film. The cinematography is workmanlike with a few nice touches notably the opening sequence of the film. Cinematographer Jack Greenhalgh did a lot of B movies. Both he, and Shane knew how to churn out movies on a small budget with little time and still do quality work.
Max Shane did the screenplay and directed this fine film. The cinematography is workmanlike with a few nice touches notably the opening sequence of the film. Cinematographer Jack Greenhalgh did a lot of B movies. Both he, and Shane knew how to churn out movies on a small budget with little time and still do quality work.
DeForest Kelley does an excellent job as the tortured Vince Grayson. He thinks he is a murderer and the guilt hangs heavy upon his head. Paul Kelly always gives a good, honest performance and it’s no different here. He balances his role as a cop who has to arrest his future brother-in-law and simultaneously break the heart of his wife, played by the lovely Ann Doran. The seemingly perfunctory B movie creep often found in B movies is Robert Emmett Keane.
I won’t go into much detail. Suffice it to say this is a perfect film for a Saturday afternoon matinee or an evening when you want a good movie to watch but don’t have much time.
WIth no hesitation, I recommend this movie.
I won’t go into much detail. Suffice it to say this is a perfect film for a Saturday afternoon matinee or an evening when you want a good movie to watch but don’t have much time.
WIth no hesitation, I recommend this movie.
THE NIGHT HAS A THOUSAND EYES
3.75/5 Stars
1948---81 minutes
Dir.-John Farrow--The Big Clock, Alias Nick Beal, Where Danger Lives, His Kind Of Woman.
Edward G.Robinson--Two Seconds, The Sea Wolf, The Red House, The Violent Men.
Gail Russell--The Unseen, Moonrise, The Uninvited, Angel And The Bad Man.
John Lund--No Man Of Her Own, The Perils Of Pauline.
Wm. Demarest--The Jolson Story,The Great McGinty, The Lady Eve, Sullivan’s Travels. John F. Seitz--Sullivan’s Travels, Hail The Conquering Hero, The Unseen, Double Indemnity, Madame X.
Dir.-John Farrow--The Big Clock, Alias Nick Beal, Where Danger Lives, His Kind Of Woman.
Edward G.Robinson--Two Seconds, The Sea Wolf, The Red House, The Violent Men.
Gail Russell--The Unseen, Moonrise, The Uninvited, Angel And The Bad Man.
John Lund--No Man Of Her Own, The Perils Of Pauline.
Wm. Demarest--The Jolson Story,The Great McGinty, The Lady Eve, Sullivan’s Travels. John F. Seitz--Sullivan’s Travels, Hail The Conquering Hero, The Unseen, Double Indemnity, Madame X.
The Night Has A Thousand Eyes is an adaptation of Cornell Woolrich’s novel of the same name. Woolrich’s stories often contain scenarios that test one’s suspension of disbelief and also conclusions that tie up any loose ends in a neat though often unsatisfying manner.
But in the right hands his works are perfect for noir and fringe-noir films. I cite as examples: Phantom Lady, Black Angel, The Window, Deadline At Dawn, and Vertigo. The right hands in this case are: director, John Farrow, screen writers, Barre Lyndon, and Jonathan Latimer and cinematographer John Seitz.
But in the right hands his works are perfect for noir and fringe-noir films. I cite as examples: Phantom Lady, Black Angel, The Window, Deadline At Dawn, and Vertigo. The right hands in this case are: director, John Farrow, screen writers, Barre Lyndon, and Jonathan Latimer and cinematographer John Seitz.
Edward G. Robinson plays Dr. Triton, a mentalist who during one performance has a premonition of imminent danger and pleads for a couple in the audience immediately return to their home. The premonition was true. Their child survived a fire but was horribly burned. The premonitions continue and cause him to quit the stage and go into recluse.
Robinson portrays Dr. Triton as a hapless, tortured soul resigned to a life of guilt, desolation and despair as a result of his unwanted ‘gift.’ Much of the tale is told in flashbacks and the viewer gets to ‘hear’ Robinson act without seeing him act. Robinson has a wonderful voice that is perfect for story-telling. Put him among those who could read a telephone book and make it sound exciting.
Triton remains in semi seclusion but returns to warn Jean Courtland (Gail Russell) of her imminent death. Gail Russell is one of the most beautiful women of the 40’s and has a very soft-spoken voice and projects fragility and vulnerability.
Robinson portrays Dr. Triton as a hapless, tortured soul resigned to a life of guilt, desolation and despair as a result of his unwanted ‘gift.’ Much of the tale is told in flashbacks and the viewer gets to ‘hear’ Robinson act without seeing him act. Robinson has a wonderful voice that is perfect for story-telling. Put him among those who could read a telephone book and make it sound exciting.
Triton remains in semi seclusion but returns to warn Jean Courtland (Gail Russell) of her imminent death. Gail Russell is one of the most beautiful women of the 40’s and has a very soft-spoken voice and projects fragility and vulnerability.
The film starts with Russell’s finance (John Lund) stopping her from committing suicide. They later arrange a meeting with Robinson at a small restaurant. He tells them he has a premonition of Jean’s death. He promises to do everything he can to prevent his vision from coming true. I won’t go into much detail as the film has the usual twists, turns and macguffins we see in Woolrich’s stories.
While the occult is mentioned several times no reason is given for his visions. Farrow does not let the theme of the super natural take control of the film. It's a case of; it's there, he has it, now deal with it. We are confronted with two mysteries in this film: what is behind Robinson’s powers of premonition and what will happen to Jean Courtland? The film has a wonderful score that accentuates the ambiance of suspense and mystery.
While the occult is mentioned several times no reason is given for his visions. Farrow does not let the theme of the super natural take control of the film. It's a case of; it's there, he has it, now deal with it. We are confronted with two mysteries in this film: what is behind Robinson’s powers of premonition and what will happen to Jean Courtland? The film has a wonderful score that accentuates the ambiance of suspense and mystery.
Ms. Russell's portrayal of the frightened, soft-spoken Ms. Courtland may not be far from her off-screen persona. Hers was not a happy life. I see many of the ephemeral qualities of Cathy O’Donnell in Ms. Russell. The biggest difference is Ms. O’Donnell wanted to be an actress, whereas Ms. Russell did not.
The Night Has A Thousand Eyes, has a nice steady flow to it. Robinson would later say this was his least favorite movie and did it only for the money (as opposed to the films he did gratis?) It’s possible he felt constrained by the film and or the director, as Farrow gave him no opportunity to explode as he would often do in many of his films. Farrow had Robinson play it close to the vest.
William Demarest makes an appearance as a police lieutenant. I shuddered when he came on. I expected comic relief, acerbic rhetoric, condescension and borderline meanness. It was refreshing not to see any of that, and the credit goes to Farrow. This is one of the few times I've seen where Demarest is allowed to come across as an actor and not a caricature.
Relax on a comfy chair and let the story, the great direction, the steady, good workman like acting, the great cinematography carry you through a very entertaining eighty one minutes of a very good movie.
With no reservations, I recommend this movie.
The Night Has A Thousand Eyes, has a nice steady flow to it. Robinson would later say this was his least favorite movie and did it only for the money (as opposed to the films he did gratis?) It’s possible he felt constrained by the film and or the director, as Farrow gave him no opportunity to explode as he would often do in many of his films. Farrow had Robinson play it close to the vest.
William Demarest makes an appearance as a police lieutenant. I shuddered when he came on. I expected comic relief, acerbic rhetoric, condescension and borderline meanness. It was refreshing not to see any of that, and the credit goes to Farrow. This is one of the few times I've seen where Demarest is allowed to come across as an actor and not a caricature.
Relax on a comfy chair and let the story, the great direction, the steady, good workman like acting, the great cinematography carry you through a very entertaining eighty one minutes of a very good movie.
With no reservations, I recommend this movie.
TORMENTED
3.25/5 Stars
1960---75 Minutes
Dir-Bert I. Gordon--The Amazing Colossal Man, The Cyclops, Necromancy, Empire Of The Ants.
Richard Carlson-The Amazing Mr. X, The Sound Of Fury, Creature From The Black Lagoon.
Joe Turkel--Paths Of Glory, The Shining, Blade Runner, The Glass Wall, The Killing.
Susan Gordon--Picture Mommy Dead, Attack Of The Puppet People.
Lugene Sanders--
Julie Reding--
Dir-Bert I. Gordon--The Amazing Colossal Man, The Cyclops, Necromancy, Empire Of The Ants.
Richard Carlson-The Amazing Mr. X, The Sound Of Fury, Creature From The Black Lagoon.
Joe Turkel--Paths Of Glory, The Shining, Blade Runner, The Glass Wall, The Killing.
Susan Gordon--Picture Mommy Dead, Attack Of The Puppet People.
Lugene Sanders--
Julie Reding--
Richard Carlson is jazz pianist Tom Stewart. He is to marrythe love of his life Meg Hubbard (Lugene Sanders) in a few days. Before he does however he needs to jettison his voluptuous, buxom, blond mistress, Vi, played by the voluptuous, buxom, blond actress Juli Reding. He takes her to an abandoned light house to break the news. But Vi isn’t having any of it. She tells him that if she can’t have him no one can. She races upstairs to the top of the lighthouse. She breaks a guard rail but hangs on for dear life. She pleads for Tom to lend a hand and save her from imminent death. Tom considers. He considers again and makes an executive decision to do nothing. She loses her grip and falls to her death.
The next morning Tom sees her dead body floating close to the beach. He swims out and carries her back. However it's not Vi instead it's a large clump of sea-weed he had cradled in his arms. If that’s not enough to get one interested in this movie then nothing will although Vi should have been more than enough.
The next morning Tom sees her dead body floating close to the beach. He swims out and carries her back. However it's not Vi instead it's a large clump of sea-weed he had cradled in his arms. If that’s not enough to get one interested in this movie then nothing will although Vi should have been more than enough.
This is a wonderful B movie. As with most B films there are no A-list stars. The film is a good introduction to the more psychologically developed classic ghost stories produced by major studios with major stars. Richard Carlson is the only name star in this film and turns in a good workmanlike performance. There is no over-acting, no playing it for laughs. The co-star is Susan Gordon, the daughter of director Bert I. Gordon who plays Meg’s sister. She adores Tom and looks forward to having him in the family.
In an era where appreciation of black and white is hard to find among young viewers, especially for those eight and younger when many children are starting to formulate their viewing preferences, Tormented might be a better film to introduce them to break and white than out Of The Past or many other classics. In addition to the visceral beginning the director incorporates some basic ‘special effects’ that segues this B-movie into the ghost-story genre. There are some very nice bits of evidence that show everything is a figment of Tom’s tormented mind and of course a strong bit of ‘evidence’ that proves Vi did come to life.
Richard Carlson is known for his leads in, Creature From The Black Lagoon, It Came From Outer Space and other sci-fi B’s. He projects a sincere, earnest and down to earth character and that persona plays well as he struggles with inner torment of allowing Vi to die. While his decision not to save Vi is morally reprehensible it is not, as far as I know, a crime and he does not come across as mean or vindictive. Carlson’s acting range is not enough to lift up a weaker actor’s performance and as a result he often comes down to the level of his lesser talented cast. When he’s given the opportunity to interact with a competent actor he elevates his game. We see that when Joe Turkel enters the movie, and especially the final five minutes when young Ms.Gordon seeks Tom's advice regarding her own moral dilemma.
The film runs 75 minutes which feels about right, as there's also a fairly interesting sub plot with a blind woman who spins a tale of a ghostly things that happened in the past. This addition of another spooky happening adds to the main plot of the story.
This is an entertaining movie with enough suspense, chills and a very good ending to make it worthwhile.
I recommend this movie.
This is an entertaining movie with enough suspense, chills and a very good ending to make it worthwhile.
I recommend this movie.
SHOOT TO KILL
3.0/5 Stars
1947---63 Minutes.
Dir.-Wm. Berke--Ding Dong Williams, Captive Girl, I Shot Billy The Kid.
Edmund MacDonald-Detour, Flying Tigers, Hangmen Also Die, Castle In The Desert.
Luana Walters--The Durango Kid, The Tulsa Kid, The Kids Last Ride, Captain Midnight.
Robert Kent--Charlie Chan In Monte Carlo, The Phantom Creeps.
Russell Wade--Tall In The Saddle, The Ghost Ship, The Iron Major.
Dir.-Wm. Berke--Ding Dong Williams, Captive Girl, I Shot Billy The Kid.
Edmund MacDonald-Detour, Flying Tigers, Hangmen Also Die, Castle In The Desert.
Luana Walters--The Durango Kid, The Tulsa Kid, The Kids Last Ride, Captain Midnight.
Robert Kent--Charlie Chan In Monte Carlo, The Phantom Creeps.
Russell Wade--Tall In The Saddle, The Ghost Ship, The Iron Major.
Prosecutor Lawrence Dale (Edmund MacDonald) has put long time criminal Dixie Logan (Robert Kent) behind bars who was set up by his gangland nemesis, Gus Miller (Nestor Paiva), who also happens to be behind Dale’s run for District Attorney. Logan swears he’ll break out and get revenge, and sure enough he does and Dale is worried.
The plot is reminiscent of the stories that came from The Black Mask and other crime pulps. The stories in those pulps are at the core of film noir. The film is not that much different in plot or feel than those of Boston Blackie, Mike Shayne and Charlie Chan; if you are a fan of those you will enjoy and appreciate Shoot To Kill.
The plot is reminiscent of the stories that came from The Black Mask and other crime pulps. The stories in those pulps are at the core of film noir. The film is not that much different in plot or feel than those of Boston Blackie, Mike Shayne and Charlie Chan; if you are a fan of those you will enjoy and appreciate Shoot To Kill.
People often confuse films such as this as film noir. The following is not an iron clad rule but; if the film has an intrepid reporter who straddles the line between buffoon and sage, hangs out at the police station bugs people left and right for a scoop there's a great chance that the film is not a noir. In Shoot To Kill that role goes to Guy Mitchell (Russell Wade). Mitchell ever eager to ingratiate himself in Logan’s good graces introduces the long time bachelor to Marian Langdon played by the lovely Luana Walters.
The film packs a lot in sixty three minutes. There is a femme fatale and a love interest, thdouble crosses, a crooked member of law enforcement and a couple of surprises. The actors are efficient and dependable, the writing is crisp, and the action flows from start to finish. There are some weak points, but all in all it’s definitely worth a watch.
The film packs a lot in sixty three minutes. There is a femme fatale and a love interest, thdouble crosses, a crooked member of law enforcement and a couple of surprises. The actors are efficient and dependable, the writing is crisp, and the action flows from start to finish. There are some weak points, but all in all it’s definitely worth a watch.
I think when watching this film like this we should remember that stories similar to this, written by scores of penny a word writers for scores of pulp fiction books eagerly devoured by the lower rung of the socially economic and working class societies eventually gave rise to film noir. Films like Shoot To Kill Still hadto be enjoyable, fun well acted and Shoot To Kill, checks all of those boxes.
If you’re expecting Out Of The Past, then go watchOut Of The Past. If you’re expecting a better than average low budget film then....I recommend this film.
If you’re expecting Out Of The Past, then go watchOut Of The Past. If you’re expecting a better than average low budget film then....I recommend this film.
STRANGE ILLUSION
3.5/Stars
87 Minutes--1945
Director: Edgar Ulmer-Detour, The Black Cat, The Strange Woman, Bluebeard.
Jimmy Lydon-Tom Brown's School Days, Life With Father, Henry Aldrich Movies.
Warren William-Three On A Match, Lady For A Day, Imitation Of Life(1934).
Sally Eilers--Bad Girl, State Fair.
Regis Toomey--Cry Danger, Raw Deal, The Big Sleep, Phantom Lady, The Tall Target.
Director: Edgar Ulmer-Detour, The Black Cat, The Strange Woman, Bluebeard.
Jimmy Lydon-Tom Brown's School Days, Life With Father, Henry Aldrich Movies.
Warren William-Three On A Match, Lady For A Day, Imitation Of Life(1934).
Sally Eilers--Bad Girl, State Fair.
Regis Toomey--Cry Danger, Raw Deal, The Big Sleep, Phantom Lady, The Tall Target.
Pay close attention to the opening dream sequence of, Strange Illusion. Paul Cartwright (Jimmy Lydon) reveals the entire plot and several key events that will occur. This narration helps the viewer follow this off-beat, cross-genre movie directed by Edgar Ulmer.
Paul Cartwright is an earnest and studious law student. He struggles to balance the social and academic life of college with the responsibility of protecting his Mother; an attractive woman referred to by her children as Princess (Sally Eilers). It is a duty he takes seriously and one he is continually reminded of; even from beyond the grave. His late father wrote numerous letters of fatherly advice to his that are mailed to Paul by Dad's lawyer. The most recent letter arrives the morning after his dream. Dear, departed Dad reminds his son of his Mom’s fragility and his filial responsibility to be her protector. Paul is concerned and cuts short his fishing trip with family friend, Dr. Vincent (Regis Toomey) and returns home.
Paul Cartwright is an earnest and studious law student. He struggles to balance the social and academic life of college with the responsibility of protecting his Mother; an attractive woman referred to by her children as Princess (Sally Eilers). It is a duty he takes seriously and one he is continually reminded of; even from beyond the grave. His late father wrote numerous letters of fatherly advice to his that are mailed to Paul by Dad's lawyer. The most recent letter arrives the morning after his dream. Dear, departed Dad reminds his son of his Mom’s fragility and his filial responsibility to be her protector. Paul is concerned and cuts short his fishing trip with family friend, Dr. Vincent (Regis Toomey) and returns home.
His fears are confirmed when learns his Mom is dating Brett Curtis (Warren William). The butler doesn’t like him, and neither would Paul’s Dad he adds. Paul’s sister, Dorothy (Jayne Hazard) just like her Mom is smitten with him. William, one of the most decent men off-screen, made his mark playing the sleazy villain you love to hate in many pre-code films. He is well-suited as the lecherous creep. It appears this mysterious, stranger is a rival not only for Paul’s mom, but his sister and girlfriend as well for this guy is working on a trifecta. This threat will certainly interfere with Paul’s law studies. Curtis effortlessly goes from gentlemanly courting Paul's Mom to lasciviously eyeing Paul's girlfriend in the blink of an eye. Paul begins to investigate him when events occur that were foretold in the dream.
The film does not delve into two popular themes of the 40s; the supernatural and the occult. This is a relief for the film addresses several genres. Teenage angst is combined with a 1930s style mystery film with a sleuth, assistant, comic foil, an escape from the bad guy’s hideout and a dastardly villain. Added to this are underlying themes of an aggressive filial devotion that off puts the Mother and a older man's predilection towards much younger girls that borders pedophilia.
The film does not delve into two popular themes of the 40s; the supernatural and the occult. This is a relief for the film addresses several genres. Teenage angst is combined with a 1930s style mystery film with a sleuth, assistant, comic foil, an escape from the bad guy’s hideout and a dastardly villain. Added to this are underlying themes of an aggressive filial devotion that off puts the Mother and a older man's predilection towards much younger girls that borders pedophilia.
What would Alfred Hitchcock in 1945 have done with this story about a boy’s deep devotion to his mother jealous of any man who might come between himself and his Princess? (Are you listening Norman? Norman? Norman!!) Had Ulmer been given the A film treatment this could have been an excellent physiological/sexual thriller as his The Black Cat.
As is the case with many B films, the acting is more than competent. Sally Eilers, Regis Toomey, and Charles Arnt (Dr. Muhlbach) were all experienced actors. Sonia Sorel does a good job as Arnt’s secretary and bears a resemblance to Audrey Totter. William, as noted is great, and Lydon is very good. Philip Tannura is listed as the cinematographer, but based upon the number and quality of films done by the unaccredited Eugen Schufftan, I believe it was Schufftan who was responsible for some of the truly outstanding interior shots. Schufttan would later win an Oscar for The Hustler.
As is the case with many B films, the acting is more than competent. Sally Eilers, Regis Toomey, and Charles Arnt (Dr. Muhlbach) were all experienced actors. Sonia Sorel does a good job as Arnt’s secretary and bears a resemblance to Audrey Totter. William, as noted is great, and Lydon is very good. Philip Tannura is listed as the cinematographer, but based upon the number and quality of films done by the unaccredited Eugen Schufftan, I believe it was Schufftan who was responsible for some of the truly outstanding interior shots. Schufttan would later win an Oscar for The Hustler.
The film ends in a very interesting dream. Paul is walking hand in hand with his Mom. Both are cheerful and smiling. Then along comes Dr. Vincent who gently takes Mom's hand and leads her away and tells her, "Don't look back. Look forward." Paul is not lonely for long as a girl in total darkness walks alongside him. Make of that what you will.
It’s not enough for a film to spur the audience’s imagination with innuendoes or allusions of a darker meaning. The film must stand on its own merit. Strange Illusion is a very good B movie. Ulmer incorporates a lot of different elements into this film that under a less talented director might have been disastrous. Ulmer is not a lesser director.
David Lynch said, Blue Velvet was essentially a Hardy Boys mystery and one can say the same about, Strange Illusion.
With no trepidation I recommend this movie.
It’s not enough for a film to spur the audience’s imagination with innuendoes or allusions of a darker meaning. The film must stand on its own merit. Strange Illusion is a very good B movie. Ulmer incorporates a lot of different elements into this film that under a less talented director might have been disastrous. Ulmer is not a lesser director.
David Lynch said, Blue Velvet was essentially a Hardy Boys mystery and one can say the same about, Strange Illusion.
With no trepidation I recommend this movie.
I've included several clips from the film. Enjoy.
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I came across an interview done with a 90 year old Jimmy Lydon. Jimmy was extremely bright and lively and a fine example of the Irish trait of the gift of gab. He was of the finest generation, and especially telling is his recalling his rough childhood.
https://www.youtube.com/watch?v=54zQtoL6Hx0
https://www.youtube.com/watch?v=LELubAfTvp8
https://www.youtube.com/watch?v=54zQtoL6Hx0
https://www.youtube.com/watch?v=LELubAfTvp8
The Amazing Mr. X
3.25/Stars
78 Minutes---1948
Director: Bernard Vorhaus--Bury Me Dead, Hurricane Smith.
Turhan Bey--The Mummy's Tomb, The Mad Ghoul, Song Of India
Lynn Bari--Shock, Nocturne, Blood And Sand, The Bridge Of San Luis Rey.
Cathy O'Donnell--They Live By Night, Side Street, Detective Story, Bury Me Dead, Ben Hur.
John Alton(Cinem.)-The Big Combo, Raw Deal, The Pretender, I, The Jury, Mystery Street.
Director: Bernard Vorhaus--Bury Me Dead, Hurricane Smith.
Turhan Bey--The Mummy's Tomb, The Mad Ghoul, Song Of India
Lynn Bari--Shock, Nocturne, Blood And Sand, The Bridge Of San Luis Rey.
Cathy O'Donnell--They Live By Night, Side Street, Detective Story, Bury Me Dead, Ben Hur.
John Alton(Cinem.)-The Big Combo, Raw Deal, The Pretender, I, The Jury, Mystery Street.
The Amazing Mr. X is an above average B film with above average stars complemented with A+ cinematographer John Alton. Christine(Lynn Bari) lives a life of opulence in a beautiful beach house. But money doesn't buy everything. She still mourns for her late husband who died two years ago in a car explosion. One evening while on the beach walking to her suitor’s house she is surprised by the mysterious, and soon to be amazing, Alexis (hence the ‘X’) played by Turhan Bey. I’m not a fan of the supernatural/occult scammer theme. There's the target, and Katherine is a perfect target. There are the perfunctory séance scenes, gullible rich women and eventually ‘contact’ with a long dead relative. The major problem with this film is it doesn’t get exciting until the last half hour and when it does it’s an excellent half hour.
Lynn Bari is one of the underappreciated beauties of the 40s. Bari’s acting is most effective when it’s used to complement stronger male leads as with Vincent Price in Shock and George Raft in Nocturne. In an unusual bit of casting Cathy O’Donnell plays her younger sister Janet. There is little about them to make one think they are sisters. They contrast starkly in looks, stature and diction as well. Bari's voice is clear, accent less, clearly articulated and authoritative, while O’Donnell‘s is soft, not much more than a whisper and a country accent that would have been perfect in They Live By Night. In a nice twist Janet is the more reliable, responsible sister. This emphasizes Christine's weak emotional state. It is unfortunate we need to wait so long before we see how fragile she is, and when we do Ms. Bari gives an impressive performance of a woman subjected to gaslighting.
Turhan Bey is the epitome of suaveness. I’ve seen him in a few films, and he’s another actor who does his job effortlessly and appears he’s not acting at all. There is a great scene when Janet, along with Martin, hatch a plan to expose Mr. X as the scammer. O’Donnell goes to his home and looks every bit like a Halloween trick or treater wearing big Sis’s clothes. By the time she leavesJanet is as big a supporter of Mr. X there is.
Kudos must go to Donald Curtis who appears much too late in this film. His appearance transforms a movie that often borders more on somnolence than the supernatural into an exciting thriller with fights, gun play, gaslighting and a nice ending that fits in the theme of the supernatural. The film runs 78 minutes which feels right.
It's not a bad movie and the three lead actors along with the cinematography of John Alton are reasons enough to watch the movie. It's John Alton at his best.
It's not a bad movie and the three lead actors along with the cinematography of John Alton are reasons enough to watch the movie. It's John Alton at his best.
CRASHOUT
4.25/5 Stars
1955---89 Minutes.
Director. Lewis R. Foster--Manhandled, Tropic Zone, Jamaica Run.
William Bendix---The Glass Key, The Blue Dahlia, The Dark Corner, Lifeboat, Wake Island.
Arthur Kennedy-Too Late For Tears, The Lusty Men, Elmer Gantry.
Gene Evans----The Steel Helmet, Fixed Bayonets, Park Row, Donovan's Brain.
Beverly Michaels--Pickup, Wicked Woman, The Betrayed Women, East Side West Side.
Gloria Talbott---I Married A Monster From Outer Space, The Leech Woman, All That Heaven Allows.
Director. Lewis R. Foster--Manhandled, Tropic Zone, Jamaica Run.
William Bendix---The Glass Key, The Blue Dahlia, The Dark Corner, Lifeboat, Wake Island.
Arthur Kennedy-Too Late For Tears, The Lusty Men, Elmer Gantry.
Gene Evans----The Steel Helmet, Fixed Bayonets, Park Row, Donovan's Brain.
Beverly Michaels--Pickup, Wicked Woman, The Betrayed Women, East Side West Side.
Gloria Talbott---I Married A Monster From Outer Space, The Leech Woman, All That Heaven Allows.
Crashout is the perfect film for those who want their young child or grandchild to appreciate black and white films. Many might suggest classics like, The Killers, Laura, Double Indemnity to that I say; booshwhah! Every child needs a remedial B Movie 101 to start with and this is an excellent movie for film goers of all ages.
The director is Lewis R. Foster who also directed, Armored Car and Manhandled. He knows his way around the B’s and it shows. The film immediately gets down to business. It starts with a prison break where over a hundred criminals storm the prison gates. They drop like flies as they’re sprayed by Thompson sub-machine guns, a guard is shot before he can mow them down with a Browning .30 cal air cooled machine gun. It's like a shooting booth at a fair ground aa snipers pick off escaping prisoners. These guards are not playing! That’s the sort of attention needed to capture a youngun’s attention in this world of CGI. It’s reminiscent of a scene from my ebook, Escape From Camp Orken.
The director is Lewis R. Foster who also directed, Armored Car and Manhandled. He knows his way around the B’s and it shows. The film immediately gets down to business. It starts with a prison break where over a hundred criminals storm the prison gates. They drop like flies as they’re sprayed by Thompson sub-machine guns, a guard is shot before he can mow them down with a Browning .30 cal air cooled machine gun. It's like a shooting booth at a fair ground aa snipers pick off escaping prisoners. These guards are not playing! That’s the sort of attention needed to capture a youngun’s attention in this world of CGI. It’s reminiscent of a scene from my ebook, Escape From Camp Orken.
The film follows the exploits of who I call the BadAss Six: William Bendix, Luther Adler, William Talman, Arthur Kennedy, Marshall Thompson, and Gene Evans. With the exception of Luther Adler, who overacts when there is no need as the movie itself is over the top, they all take the film seriously and put in a good professional performance. Luther Adler is supposed to be Mexican but his accent is more Bacciagalupe (click the link for some interesting background into the name bacciagalupe) than Pedro Gonzalez-Gonzalez. Mercifully Adler’s character is the first to bite the dust and that ends the spoilers.
The B’s of the fifties were more violent and intense than their cousins of the 40s, and this is one of those films.
Below is some comedy to ease the tension.
The B’s of the fifties were more violent and intense than their cousins of the 40s, and this is one of those films.
Below is some comedy to ease the tension.
Every film asks for a suspension of disbelief somewhere in the story. Crashout demands periodic suspensions of disbelief, but that’s okay. This is especially true when two of the convicts fall in love and that’s cool. Marshall Thompson, perhaps the least bad ass of the BadAss 6, falls in love with the lovely Gloria Talbott and she with him.
Suspended disbelief comes in handy when the statuesque Beverly Michaels falls in love, not with Percy Helton, although he makes an appearance as a benevolent doctor, but with Arthur Kennedy. This happens shortly after he kidnaps and holds her mother and son as hostages. But that’s okay, too. (As a PSA I do not recommend that one should go to prison and escape from same in order to find a date.) The road to a child growing to appreciate The Postman Always Rings Twice and The Big Sleep begins with a few of these movies.
Suspended disbelief comes in handy when the statuesque Beverly Michaels falls in love, not with Percy Helton, although he makes an appearance as a benevolent doctor, but with Arthur Kennedy. This happens shortly after he kidnaps and holds her mother and son as hostages. But that’s okay, too. (As a PSA I do not recommend that one should go to prison and escape from same in order to find a date.) The road to a child growing to appreciate The Postman Always Rings Twice and The Big Sleep begins with a few of these movies.
With so much bad-assery abounding in this movie, we have to give kudos to William Talman for standing out among the rest. Suffice it to say he makes his hitchhiker in the The Hitch-Hiker look like a sweetheart. There are scenes that presage the graphic violence that will come a decade or so later. The situations of violence are placed before us and the viewer fills in the rest, and what's filled in isn't very pretty. There’s a totally unbelievable shake your head ending with Bendix and Kennedy. But, that’s okay too, for you were told to periodically suspend your disbelief at times for this movie.
The movie is 89 minutes and that’s usually a bad sign for a B. But the film moves quickly with hardly a boring moment, and that’s very important for a young person. So, sit down, re-heat last night’s unfinished pizza and enjoy Crashout with your child or grandchild.
I definitely recommend this movie.
The movie is 89 minutes and that’s usually a bad sign for a B. But the film moves quickly with hardly a boring moment, and that’s very important for a young person. So, sit down, re-heat last night’s unfinished pizza and enjoy Crashout with your child or grandchild.
I definitely recommend this movie.
WITHOUT WARNING
4/5 Stars
1952---77 Minutes
Director--Arnold Levin
Adam Williams--The Big Heat, Crashout, North By Northwest, Nightmoves, The Rack.
Edward Binns-The Scarlet Hour, The Turning Point, 12 Angry Men, Nightmoves, Fail-Safe.
Meg Randall---Criss Cross.
John Maxwell--The Prowler, The Turning Point, Them! Devil's Canyon, Johnny Guitar.
Director--Arnold Levin
Adam Williams--The Big Heat, Crashout, North By Northwest, Nightmoves, The Rack.
Edward Binns-The Scarlet Hour, The Turning Point, 12 Angry Men, Nightmoves, Fail-Safe.
Meg Randall---Criss Cross.
John Maxwell--The Prowler, The Turning Point, Them! Devil's Canyon, Johnny Guitar.
You could not find much about a serial killer, or anything overtly sexual during the era of the Hays Code so kudos for Without Warning as it combines the themes of the crime procedural and the sexually motivated serial killer.
Crime procedurals are an evolution of the detective/mystery thrillers. Instead of the police gathering the facts and clues it's the men with their white smocks in their labs doing the work. The excellent He Walks By Night and Mystery Street are two great examples with the latter using it as an integral part of the film.
Crime procedurals are an evolution of the detective/mystery thrillers. Instead of the police gathering the facts and clues it's the men with their white smocks in their labs doing the work. The excellent He Walks By Night and Mystery Street are two great examples with the latter using it as an integral part of the film.
In addition to Without Warning, The Sniper (1952), and While The City Sleeps (1956) had similar themes. The Sniper's Edward Miller (Arthur Franz) is a seriously sick and pathetic man; a punching bag for society, who desperately seeks help, and falls through the cracks of the system. Robert Manners (John Drew Barrymore) is an explosive psychopath who cannot mask his hatred. Both men are outliers of society, they are misfits with a strong subconscious desire to get caught. Of the three killers, Carl Martin (Adam Williams) is by far the most dangerous.
Carl Martin does not exhibit any anti-social behavior. He does not project violence nor give indications of being a threat. He is a gainfully self-employed gardener. He is a hard worker and conscientious; the type who would expand his business and hire employees. He is trusted enough for the neighbor's little girl, Carmelita, to ask him to fix her doll whose head just won't stay attached to the rest of the body. He is a good looking guy who has no trouble picking up loose blondes out on the town for some fun. There's nothing wrong with that. The fly in the ointment however is he stabs those blondes with a tool of his trade; strong, sharp, garden shears. It is serial killers like Martin who go undetected for years, if not decades, witness John Gacy and Dennis Rader, the BTK Strangler.
The film lasts 77 minutes and Director Arnold Levin moves from the procedural side to the serial killer side effortlessly. The entire film keeps a nice steady pace with a periodic spurt of acceleration then a moment of cruise control to give the audience a chance to relax. Like most B films, Without Warning, is bereft of major stars. The detectives are Edward Binns and Harlan Warde. In addition to the excellent Williams and Binns there are the familiar faces of Roy Engel (D.O.A.) and Robert Shayne (Inspector Henderson from Superman) who plays police psychaitrist Dr. Werner, who expertly profiles the unknown killer.
Carl Martin does not exhibit any anti-social behavior. He does not project violence nor give indications of being a threat. He is a gainfully self-employed gardener. He is a hard worker and conscientious; the type who would expand his business and hire employees. He is trusted enough for the neighbor's little girl, Carmelita, to ask him to fix her doll whose head just won't stay attached to the rest of the body. He is a good looking guy who has no trouble picking up loose blondes out on the town for some fun. There's nothing wrong with that. The fly in the ointment however is he stabs those blondes with a tool of his trade; strong, sharp, garden shears. It is serial killers like Martin who go undetected for years, if not decades, witness John Gacy and Dennis Rader, the BTK Strangler.
The film lasts 77 minutes and Director Arnold Levin moves from the procedural side to the serial killer side effortlessly. The entire film keeps a nice steady pace with a periodic spurt of acceleration then a moment of cruise control to give the audience a chance to relax. Like most B films, Without Warning, is bereft of major stars. The detectives are Edward Binns and Harlan Warde. In addition to the excellent Williams and Binns there are the familiar faces of Roy Engel (D.O.A.) and Robert Shayne (Inspector Henderson from Superman) who plays police psychaitrist Dr. Werner, who expertly profiles the unknown killer.
Martin lives in a shack in the Chavez Ravine section of Los Angeles with the iconic city hall in the distance. These scenes in the Ravine bring to mind those of the Bunker Hill Section in Criss Cross. Both give the viewer a nice look into the past. These shots of Chavez Ravine, the seedy streets of downtown, L.A. some nice overhead shots of Martin running from the cops are bona fide noir elements.
The last ten minutes of this film are as good as I've come across regardless of A or B stature. Martin has ordered an exotic plant for a rich customer. The plant arrives late. Jane Saunders (Meg Randall) does not want her boss to lose a good customer and delivers it to his home. She finds newspaper accounts of previous murders. She wants to leave but Martin insists they chat. He is a lonely guy, and she's the first female he's had in his home. Martin is the cordial host, and they have a cup of tea but the garden shears loom prominent on the cabinet near the table.
We are used to hearing tales of woe from degenerate killers to explain their evil deeds but there's none of that in this film. All we know of Carl's past is that he was once married and it didn't work out. I liked this lack of background knowledge. It enforces the menace implied by the title: that the most vile killers can look like the man who cuts the grass for Mr. Jones down the street, and like the proverbial thief in the night appear anytime; whether we're ready or not.
At the end of 8mm, when Nicholas Cage unmasks the sadistic killer known as, Machine Cage is taken back when he looks down into a fat, pallid, round and soft face. "What did you expect, a monster?" the killer asks. And so it is for Carl Martin. Williams is a pleasant looking actor and was well cast in the film. BUT in the photos he resembles Andrew Robinson's Scorpio in Dirty Harry.
There is a lot to like in this film, and it does have noir elements. However the man is a sicko, serial killer. He expresses no ambiguity, faces no moral dilemma for his actions nor does he warrant empathy. There has to be more than his wife leaving that started his spree of murders. But, we'll never know.
Without Warning is a wonderful B film and with no reservations, I recommend this movie.
The last ten minutes of this film are as good as I've come across regardless of A or B stature. Martin has ordered an exotic plant for a rich customer. The plant arrives late. Jane Saunders (Meg Randall) does not want her boss to lose a good customer and delivers it to his home. She finds newspaper accounts of previous murders. She wants to leave but Martin insists they chat. He is a lonely guy, and she's the first female he's had in his home. Martin is the cordial host, and they have a cup of tea but the garden shears loom prominent on the cabinet near the table.
We are used to hearing tales of woe from degenerate killers to explain their evil deeds but there's none of that in this film. All we know of Carl's past is that he was once married and it didn't work out. I liked this lack of background knowledge. It enforces the menace implied by the title: that the most vile killers can look like the man who cuts the grass for Mr. Jones down the street, and like the proverbial thief in the night appear anytime; whether we're ready or not.
At the end of 8mm, when Nicholas Cage unmasks the sadistic killer known as, Machine Cage is taken back when he looks down into a fat, pallid, round and soft face. "What did you expect, a monster?" the killer asks. And so it is for Carl Martin. Williams is a pleasant looking actor and was well cast in the film. BUT in the photos he resembles Andrew Robinson's Scorpio in Dirty Harry.
There is a lot to like in this film, and it does have noir elements. However the man is a sicko, serial killer. He expresses no ambiguity, faces no moral dilemma for his actions nor does he warrant empathy. There has to be more than his wife leaving that started his spree of murders. But, we'll never know.
Without Warning is a wonderful B film and with no reservations, I recommend this movie.
Highway 301
4.0/5 Stars
1950--83 Minutes
Director--Andrew L. Stone--Confidence Girl, The Night Holds Terror, The Steel Trap.
Steve Cochran-White Heat, Tomorrow Is Another Day, Storm Warning, I Mobster.
Virginia Grey-The Threat, Swamp Fire, House of Horrors.
Wally Cassell--The Story of G.I. Joe, White Heat, Quicksand, City That Never Sleeps, Ramrod.
Edmon Ryan--Mystery Street, The Breaking Point, Side Street.
Gaby Andre--The Strange World of Planet X, La Fin du Jour, L'angelo del pecatto.
Director--Andrew L. Stone--Confidence Girl, The Night Holds Terror, The Steel Trap.
Steve Cochran-White Heat, Tomorrow Is Another Day, Storm Warning, I Mobster.
Virginia Grey-The Threat, Swamp Fire, House of Horrors.
Wally Cassell--The Story of G.I. Joe, White Heat, Quicksand, City That Never Sleeps, Ramrod.
Edmon Ryan--Mystery Street, The Breaking Point, Side Street.
Gaby Andre--The Strange World of Planet X, La Fin du Jour, L'angelo del pecatto.
Highway 301 is a rip-roaring movie reminiscent of the wonderful gangster movies of the 30s. The title takes its name from the highway that runs through North Carolina, Virginia and Maryland, hence the gang’s nickname; The Tri-State Bandits. It may not be the most creative of gang names it does beat “wet bandits’ of Home Alone fame.
Steve Cochran is George Legenza the gang's leader and he is great. Wally Cassell, another member, likewise puts in a wonderful job. Cochran is a guy who deserved to be a star. He had a captivating screen prescene whether it's a small part in The Best Years of Our Lives, a sympathetic ex-con in, Tomorrow Is Another Day, or a murdering Klansman in Storm Warning.
Cassell is known for his small bits, but has a lot of screen time in this film, and is quite good. Warner Brothers tried to put some social consciousness in this top notch gangster film. The three governors of the states give their two cents about this gang. Determined Sgt. Truscott (Edmon Ryan) gives a PSA warning against lenient sentences given to congenital criminals.
A good B movie will have little fat. This film runs runs 83 minutes and Stone's tight directing makes it literally non-stop action from beginning to the end. Virginia Grey is good as Cassell's girl-friend and Aline Town, who incurs the wrath of Leganza is good in a small role.
This is the type of gangster/crime file that would make James Cagney, Humphrey Bogart and Pat O’Brien aficionados happy and proud. This is a good, fun movie. It has gangsters, molls, shoot outs, an old school tommy-gun and an outtasite ending.
I definitely recommend this.
Steve Cochran is George Legenza the gang's leader and he is great. Wally Cassell, another member, likewise puts in a wonderful job. Cochran is a guy who deserved to be a star. He had a captivating screen prescene whether it's a small part in The Best Years of Our Lives, a sympathetic ex-con in, Tomorrow Is Another Day, or a murdering Klansman in Storm Warning.
Cassell is known for his small bits, but has a lot of screen time in this film, and is quite good. Warner Brothers tried to put some social consciousness in this top notch gangster film. The three governors of the states give their two cents about this gang. Determined Sgt. Truscott (Edmon Ryan) gives a PSA warning against lenient sentences given to congenital criminals.
A good B movie will have little fat. This film runs runs 83 minutes and Stone's tight directing makes it literally non-stop action from beginning to the end. Virginia Grey is good as Cassell's girl-friend and Aline Town, who incurs the wrath of Leganza is good in a small role.
This is the type of gangster/crime file that would make James Cagney, Humphrey Bogart and Pat O’Brien aficionados happy and proud. This is a good, fun movie. It has gangsters, molls, shoot outs, an old school tommy-gun and an outtasite ending.
I definitely recommend this.
MURDER BY CONTRACT
3/5 Stars
1958---81 Minutes
Director---Irving Lerner--City of Fear, Edge of Fury, Man Crazy
Vince Edwards---The Killing, City of Fear, Rogue Cop, The Victors, Ben Casey (TV)
Phillip Pine---D.O.A., The Set-Up, Men In War, Brainstorm
Herschel Bernardi---The Savage Eye, A Cold Wind In August, Peter Gunn (TV)
Kathie Browne---Brainstorm, Man's Favorite Sport
Director---Irving Lerner--City of Fear, Edge of Fury, Man Crazy
Vince Edwards---The Killing, City of Fear, Rogue Cop, The Victors, Ben Casey (TV)
Phillip Pine---D.O.A., The Set-Up, Men In War, Brainstorm
Herschel Bernardi---The Savage Eye, A Cold Wind In August, Peter Gunn (TV)
Kathie Browne---Brainstorm, Man's Favorite Sport
When it comes to low budget B-movies I’ve found the optimum running time is around 70 or 75 minutes. It's imperative that the finished product be fat free and have a singularity in plot. If it’s a choice between action and character development then action wins out. Unfortunately Murder By Contract has neither.
The film begins with a lot of promise. Claude (Vince Edwards) wants his piece of the American dream. In his case it's a home in Ohio. The home costs 28k and even with a good job, good pay and good benefits it will take too long. Don’t ask me why he couldn’t put 10% or more for a down payment. Claude gets to meet the Chief and arranges for a tryout as a hit man. He does well in his career change. The hits are brutal; he cuts a guy's throat in a barber's chair, and later kills a guy in a hospital bed. Nothing fancy schmancy. Claude keeps track of how much he needs in a notebook: He started with $525 in savings and two hits at $500 a corpse add another thousand. At that rate he's going to need a whole lot of contracts to get the 28K. But he gets a call from the Chief who gives him a chance to make some good money; five thousand dollars for a hit in Los Angeles.
And it’s in Los Angeles where the film gets off-track. A B-movie needs good supporting actors. Phillip Pine and Herschel Bernardi who play the Chief’s right hand men should fit the bill, right? Wrong! Instead of tough guys they come across as a failed comedy act straight from the Borscht Belt. Maybe it was the L.A. smog but Claude changed from a no nonsense killing machine to a philosopher. He rails against the futility of life, he brow-beats some poor waiter who gives him a cup with lipstick on it. Later he will wax philosophic on the incongruity of how a soldier gets a medal for killing the enemy but people like him are looked down upon. Claude is more than a hit-man, he’s an existentialist hit-man.
The film begins with a lot of promise. Claude (Vince Edwards) wants his piece of the American dream. In his case it's a home in Ohio. The home costs 28k and even with a good job, good pay and good benefits it will take too long. Don’t ask me why he couldn’t put 10% or more for a down payment. Claude gets to meet the Chief and arranges for a tryout as a hit man. He does well in his career change. The hits are brutal; he cuts a guy's throat in a barber's chair, and later kills a guy in a hospital bed. Nothing fancy schmancy. Claude keeps track of how much he needs in a notebook: He started with $525 in savings and two hits at $500 a corpse add another thousand. At that rate he's going to need a whole lot of contracts to get the 28K. But he gets a call from the Chief who gives him a chance to make some good money; five thousand dollars for a hit in Los Angeles.
And it’s in Los Angeles where the film gets off-track. A B-movie needs good supporting actors. Phillip Pine and Herschel Bernardi who play the Chief’s right hand men should fit the bill, right? Wrong! Instead of tough guys they come across as a failed comedy act straight from the Borscht Belt. Maybe it was the L.A. smog but Claude changed from a no nonsense killing machine to a philosopher. He rails against the futility of life, he brow-beats some poor waiter who gives him a cup with lipstick on it. Later he will wax philosophic on the incongruity of how a soldier gets a medal for killing the enemy but people like him are looked down upon. Claude is more than a hit-man, he’s an existentialist hit-man.
The film wastes too much on nothing. Claude dawdles before he gets to business. Precious time is spent on Claude swimming, fishing, playing putt putt golf and teaching Herschel how to use a bow and arrow in his hotel room. The film picks up with the appearance of the lovely Kathie Browne who wants to keep Vince company, and what does Vince do? You guessed it; breaks into another philosophical discourse. At least they didn't discuss politics. The film needed a lot more of Kathie Browne. It seems Vince is a misogynist. Who knew? Who cares? Oh, and remember the running tab he’s keeping? We don’t’ see anymore of that after the first ten minutes. It was there and now it’s gone. When he does get down to the hit he selects a method straight from the Rube Goldberg school (accomplishing by complex means what seemingly could be done simply) of whacking people.
Director Irving Lerner tried to fit too much into this film. He had a great beginning, but then tried for too much. A B-Movie doesn't have to be straight forward simple, it can be complex in a relatively short time, but it needs a very good director and that's not evident in this film.
The film draws raves for its portrayal of an uber cool, psychopathic, unemotional, sexually confused hit man,. Lawrence Tierney was much better in, Born To Kill, and you won't find a better unemotional hit man than Eli Wallach in The Lineup.
I've included two clips. The first one has Claude dressed as doctor with a stethoscope before he kills someone and flies to Los Angeles. The other has a pretty good Rod Steiger impression. The actor is taller and thinner, but he's got his voice and mannerisms down pat.
This is one of Scorsese's favorite films and that might be enough reason to watch it, but it's not enough to put this among my top B movies.
I tepidly recommend this film.
Director Irving Lerner tried to fit too much into this film. He had a great beginning, but then tried for too much. A B-Movie doesn't have to be straight forward simple, it can be complex in a relatively short time, but it needs a very good director and that's not evident in this film.
The film draws raves for its portrayal of an uber cool, psychopathic, unemotional, sexually confused hit man,. Lawrence Tierney was much better in, Born To Kill, and you won't find a better unemotional hit man than Eli Wallach in The Lineup.
I've included two clips. The first one has Claude dressed as doctor with a stethoscope before he kills someone and flies to Los Angeles. The other has a pretty good Rod Steiger impression. The actor is taller and thinner, but he's got his voice and mannerisms down pat.
This is one of Scorsese's favorite films and that might be enough reason to watch it, but it's not enough to put this among my top B movies.
I tepidly recommend this film.
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CITY OF FEAR
3.5/5 Stars
1959---81 Minutes
Director---Irving Lerner---
Vince Edwards---The Killing, The Police Connection, The Devil's Brigade, Island Women.
Lyle Talbot---A Lost Lady, Fog Over Frisco, 20,000 Years in Sing Sing, Mandalay.
John Archer---Colorado Territory, White Heat, Santa Fe, Destination Moon.
Patricia Blair---Crime Against Joe, The Black Sleep.
Steven Ritch---Plunder Road, The Werewolf.
Joseph Mell----Murder By Contract, Lord Love A Duck, 36 Hours.
Director---Irving Lerner---
Vince Edwards---The Killing, The Police Connection, The Devil's Brigade, Island Women.
Lyle Talbot---A Lost Lady, Fog Over Frisco, 20,000 Years in Sing Sing, Mandalay.
John Archer---Colorado Territory, White Heat, Santa Fe, Destination Moon.
Patricia Blair---Crime Against Joe, The Black Sleep.
Steven Ritch---Plunder Road, The Werewolf.
Joseph Mell----Murder By Contract, Lord Love A Duck, 36 Hours.
One year after Murder By Contract, Director Irving Lerner and Vince Edwards are at it again in City of Fear. Edwards is Vince Sharkey; a vicious drug pusher who along with another con has escaped from San Quentin and killed a guard. Vince's accomplise dies en route to their escape. Sharkey kills a motorist who stops to help and takes his car. It’s all worth it because Sharkey has what he believes is a canister of ‘snow’ (heroin) that he believes was being used for, “…. secret junkie tests at Q.” He’s half right. But, it's not heroin used on these ‘volunteers’ but rather granular Cobalt 60 and Sharkey has already been contaminated.
City of Fear successfully incorporates two very important ingredients necessary for a good B movie: singularity of purpose and little, if any, fat or wasted time on scenes that are not immediately pertinent to the main plot. If it’s a choice between character development or action then action must win out.
Edwards plays the brooding loner to the hilt. He doesn’t need gimmicks or outbursts of temper to project menace and danger. While Sharkey doesn’t know about Cobalt the authorities do. The film focuses on a race for the canister and Edwards' quest to sell the 'heroin' and his slow and painful death. Lerner keeps a tight reign on the film and the themes complement each other.
City of Fear successfully incorporates two very important ingredients necessary for a good B movie: singularity of purpose and little, if any, fat or wasted time on scenes that are not immediately pertinent to the main plot. If it’s a choice between character development or action then action must win out.
Edwards plays the brooding loner to the hilt. He doesn’t need gimmicks or outbursts of temper to project menace and danger. While Sharkey doesn’t know about Cobalt the authorities do. The film focuses on a race for the canister and Edwards' quest to sell the 'heroin' and his slow and painful death. Lerner keeps a tight reign on the film and the themes complement each other.
An effective supporting cast is essential for a B movie. Lyle Talbot and John Archer play the police detectives who need to find Sharkey before the canister is opened and L.A. is contaminated. These two have a lot of screen time and do a good job of holding the film together. Joseph Mell adds sleaze and loathsomeness as Eddie Crown the shoe store owner/drug distributor. Patricia Blair who bears a resemblance to Jean Peters in Pickup On South Street plays Sharkey’s love interest, June Marlowe. Patricia Blair is wonderful eye candy. Her tough and street wise persona makes her the perfect partner for Vince Sharkey.
Lucien Ballard’s excellent cinematography adds a touch of noir to the film. There is a nice segment of Sharkey driving through the city that gives one the feeling of being in the car alongside him.
The script by Steven Ritch, is crisp, direct and better suited to the talent of Vince Edwards than the head scratching psycho babble of Murder By Contract. One example is when he explains to June: "Do you know the difference between a con and an ex-con? Well, there isn't any. You're just dead meat, dishwashing the rest of your life."
Lucien Ballard’s excellent cinematography adds a touch of noir to the film. There is a nice segment of Sharkey driving through the city that gives one the feeling of being in the car alongside him.
The script by Steven Ritch, is crisp, direct and better suited to the talent of Vince Edwards than the head scratching psycho babble of Murder By Contract. One example is when he explains to June: "Do you know the difference between a con and an ex-con? Well, there isn't any. You're just dead meat, dishwashing the rest of your life."
Screenwriter Ritch also plays Dr. Wallace the film's expert on Cobalt 60. When Police Chief Jensen (Lyle Talbot) tells Wallace the Mayor is thinking of notifying the public, Wallace's recitations of the horrors of Cobalt 60 made me think of Jared Harris doing the same for radioactive poisoning in Chernobyl:
"You could tell them it won't wipe out the whole city. There's not enough of it.. However... it will contaminate entire farms…, get into markets on meat and produce, … get carried around by people on their clothes.. insects and birds... and on children... Then you'll have to describe the symptoms… heavy sweat, horrible retching. the blood begins to break down the cells. If you touch your skin, the watered blood oozes out of your pores. Finally you hemorrhage internally. Blood fills the lungs.”
And the kicker: "I doubt if anyone can explain that calmly to three million people without touching off the worst panic in history.”
During a period of American cinema that used the destructive power of the nuclear bomb to give us giant ants, leeches, claws, spiders, shrinking men, colossal men and women, this low budget B movie gives a sobering realization of what the nuclear age has brought into the world.
City of Fear has veteran actors, an excellent cinematographer, a great score by legendary Jerry Goldsmith, the male and female leads are more than adequate, and the film moves at a brisk pace for the entire eighty-one minutes.
I recommend this movie.
"You could tell them it won't wipe out the whole city. There's not enough of it.. However... it will contaminate entire farms…, get into markets on meat and produce, … get carried around by people on their clothes.. insects and birds... and on children... Then you'll have to describe the symptoms… heavy sweat, horrible retching. the blood begins to break down the cells. If you touch your skin, the watered blood oozes out of your pores. Finally you hemorrhage internally. Blood fills the lungs.”
And the kicker: "I doubt if anyone can explain that calmly to three million people without touching off the worst panic in history.”
During a period of American cinema that used the destructive power of the nuclear bomb to give us giant ants, leeches, claws, spiders, shrinking men, colossal men and women, this low budget B movie gives a sobering realization of what the nuclear age has brought into the world.
City of Fear has veteran actors, an excellent cinematographer, a great score by legendary Jerry Goldsmith, the male and female leads are more than adequate, and the film moves at a brisk pace for the entire eighty-one minutes.
I recommend this movie.
I WOULDN'T BE IN YOUR SHOES
3.50/5 Stars
1948---70 minutes
Dir.---William Nigh--A total of 116 films, including several Mr. Wong mysteries.
Don Castle---The Invisible Wall, Seven Were Saved
Elsye Knox---The Mummy’s Tomb, Joe Palooka movies.
Regis Toomey--Strange Illusion, Phantom Lady, The Big Sleep, Raw Deal, Spellbound
Mack Stengler (cinematographer)—Hundreds of TV shows, including, Leave It To Beaver, Sky King, Lone Ranger and scores of films.
Steve Fisher—-(Screen writer)Hell’s Half Acre, Johnny Angel, I Wake Up Screaming, Roadblock
Dir.---William Nigh--A total of 116 films, including several Mr. Wong mysteries.
Don Castle---The Invisible Wall, Seven Were Saved
Elsye Knox---The Mummy’s Tomb, Joe Palooka movies.
Regis Toomey--Strange Illusion, Phantom Lady, The Big Sleep, Raw Deal, Spellbound
Mack Stengler (cinematographer)—Hundreds of TV shows, including, Leave It To Beaver, Sky King, Lone Ranger and scores of films.
Steve Fisher—-(Screen writer)Hell’s Half Acre, Johnny Angel, I Wake Up Screaming, Roadblock
When it comes to “B” movies I am reminded of two popular adages, “To Thine Own self be true,” and t from Ode On A Grecian Urn: "Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know." Nowhere in films is that more true when it comes to making above average “B” movies. I Wouldn’t Be in Your Shoes, based on a Cornell Woolrich story is a prime example.
Cornell Woolrich’s stories are perfect for film noir and B films. The plots often require an expansive suspension of disbelief that for B movies is not a disadvantage. His stories do not fall into the predictable templates of private eyes and mysteries. Each one has a quirky, off-beat feel to them. The protagonists find themselves in a nightmare world, a dreamscape, and their task is as much to keep their sanity as is it to prove their innocence. This quote by T.E. Lawrence sums up Woolrich’s and other noir protagonists: "...the living knew themselves just sentient puppets on God's stage"- T.E.Lawrence.
Woolrich often sets his stories in NYC tenement buildings and at night. The stories have a claustrophobic, pent-up trapped feeling to them, and those qualities go together in noir like peanut butter and jelly. They are great ingredients for which a talented director and cinematographer can expand upon Woolrich's world vison. We see this combination of director and cinematographer working hand in hand in films like Phantom Lady, The Window, Deadline At Dawn Fear In The Night, and, The Leopard Man. In my opinion Rear Window, another Woolrich story, would have made a great “B’ movie if done under 86 minutes and filmed in black and white. His stories also give a talented screen-writer lee-way to build on the story, to ‘edit’ it so to speak for the silver screen
Cornell Woolrich’s stories are perfect for film noir and B films. The plots often require an expansive suspension of disbelief that for B movies is not a disadvantage. His stories do not fall into the predictable templates of private eyes and mysteries. Each one has a quirky, off-beat feel to them. The protagonists find themselves in a nightmare world, a dreamscape, and their task is as much to keep their sanity as is it to prove their innocence. This quote by T.E. Lawrence sums up Woolrich’s and other noir protagonists: "...the living knew themselves just sentient puppets on God's stage"- T.E.Lawrence.
Woolrich often sets his stories in NYC tenement buildings and at night. The stories have a claustrophobic, pent-up trapped feeling to them, and those qualities go together in noir like peanut butter and jelly. They are great ingredients for which a talented director and cinematographer can expand upon Woolrich's world vison. We see this combination of director and cinematographer working hand in hand in films like Phantom Lady, The Window, Deadline At Dawn Fear In The Night, and, The Leopard Man. In my opinion Rear Window, another Woolrich story, would have made a great “B’ movie if done under 86 minutes and filmed in black and white. His stories also give a talented screen-writer lee-way to build on the story, to ‘edit’ it so to speak for the silver screen
I Wouldn’t Be In Your Shoes is pure B and pure Woolrich. Terry Quinn is an unemployed tap dancer. His wife gives dancing lessons. They are down on their luck, money is tight and they live in a cruddy apartment. One hot summer’s night he throws his specially made tap shoes at two howling cats across the courtyard. He goes to find them but comes back empty handed. His wife discovers them the next day in front of their door wrapped in newspaper. He finds a wallet atop a weight scale outside the dance studio where she works. Inside is $2,000 in twenty dollar bills. But these are not the usual twenties, they are big over-sized ones used earlier in the 19th century. Terry wants to turn in the money his wife says no and after a few days when no owner claims the money they go on a spending spree. Their unbelievable luck runs out when it’s discovered the money belonged to a murdered eccentric miser who lived in the same complex. The police find a unique shoe print similar to Terry’s. Terry is arrested. The shoe print fits so the jury convicts. Terry is sent to fry.
His wife insists he’s innocent. Only one detective believes her, who coincidentally takes dance lessons from her. But can he find the real killer before Terry meets Old Sparky?
The cinematography by Max Stengler is top notch. The highlight is the interrogation scene. William Nigh directed this film, the 115th and penultimate of his career and keeps the film moving at a nice seamless pace at the optimum B movie range of 70 minutes. Steve Fisher was the screenwriter. I’ve read the story and he does a good job of adapting the story for the screen.
His wife insists he’s innocent. Only one detective believes her, who coincidentally takes dance lessons from her. But can he find the real killer before Terry meets Old Sparky?
The cinematography by Max Stengler is top notch. The highlight is the interrogation scene. William Nigh directed this film, the 115th and penultimate of his career and keeps the film moving at a nice seamless pace at the optimum B movie range of 70 minutes. Steve Fisher was the screenwriter. I’ve read the story and he does a good job of adapting the story for the screen.
The acting is okay which is sufficent when there three efficient craftsmen as mentioned above. Regis Toomey gets a rare chance to have a lead and does a good job. There is also Tito Vuolo, John Doucette (you’ll recognize the voice if not the face).
I Wouldn't Be In Your Shoes isn't great, but it’s an enjoyable and well crafted movie.
With no problem I recommend this.
I Wouldn't Be In Your Shoes isn't great, but it’s an enjoyable and well crafted movie.
With no problem I recommend this.
ILLEGAL
3.25/5 Stars
1955---88 minutes
Dir.—--Lewis Allen--The Uninvited, Desert Fury, Suddenly , Whirlpool.
E.G. Robinson--Night Has A Thousand Eyes, The Violent Men, Two Seconds, The Sea Wolf, All My Sons.
Nina Foch--The Dark Past, My Name is Julia Ross, Johnny Allegro, Escape In The Fog.
Hugh Marlowe-Night And The The City, Twelve O’Clock High, All About Eve, Rawhide, Garden of Evil.
Albert Dekker--Among The Living, The Killers, The Pretender, The Furies, East of Eden, Dr . Cyclops
Ellen Corby--I Remember Mama, Caged, The Dark Past, Born To Kill, Shane, Sabrina(and almost every other movie that was made).
Jay Adler------The Big Combo, 99 River Street, Cry Danger, Down Three Dark Streets.
Henry Kulky--Hennesey (TV Series), Kill The Umpire, Fixed Bayonets, To Hell and Back,
Dir.—--Lewis Allen--The Uninvited, Desert Fury, Suddenly , Whirlpool.
E.G. Robinson--Night Has A Thousand Eyes, The Violent Men, Two Seconds, The Sea Wolf, All My Sons.
Nina Foch--The Dark Past, My Name is Julia Ross, Johnny Allegro, Escape In The Fog.
Hugh Marlowe-Night And The The City, Twelve O’Clock High, All About Eve, Rawhide, Garden of Evil.
Albert Dekker--Among The Living, The Killers, The Pretender, The Furies, East of Eden, Dr . Cyclops
Ellen Corby--I Remember Mama, Caged, The Dark Past, Born To Kill, Shane, Sabrina(and almost every other movie that was made).
Jay Adler------The Big Combo, 99 River Street, Cry Danger, Down Three Dark Streets.
Henry Kulky--Hennesey (TV Series), Kill The Umpire, Fixed Bayonets, To Hell and Back,
As successful as I Wouldn’t Be in Your Shoes was, Illegal, on the other hand tries to be all things to all viewers and in the end fails.
Any film with Edward G. Robinson is worth watching. He plays Victor Scott a top notch District Attorney. Scott has won another case and the murderer, DeForest Kelley is sent to the chair. Kelley claims he is innocent, but so do they all. Robinson is feted at his favorite restaurant with talk of him running for Governor. Shortly before the execution a death bed confession by the real killer exonerates Kelley. Despite Scott’s valiant efforts he is late by a few seconds and an innocent man is sent to his death.
He is shattered; his life in tatters. He resigns. He is shunned by his peers his favorite restaurant no longer reserves his favorite table and his so-called friends abandon him. This hangs heavy on his head and leads to violent outbursts. After one such incident he is arrested. He hears the gripes of fellow detainee (Jay Adler) who feels he’s been railroaded. The once respected lawyer takes his case and with some courtroom chicanery wins the case.
Any film with Edward G. Robinson is worth watching. He plays Victor Scott a top notch District Attorney. Scott has won another case and the murderer, DeForest Kelley is sent to the chair. Kelley claims he is innocent, but so do they all. Robinson is feted at his favorite restaurant with talk of him running for Governor. Shortly before the execution a death bed confession by the real killer exonerates Kelley. Despite Scott’s valiant efforts he is late by a few seconds and an innocent man is sent to his death.
He is shattered; his life in tatters. He resigns. He is shunned by his peers his favorite restaurant no longer reserves his favorite table and his so-called friends abandon him. This hangs heavy on his head and leads to violent outbursts. After one such incident he is arrested. He hears the gripes of fellow detainee (Jay Adler) who feels he’s been railroaded. The once respected lawyer takes his case and with some courtroom chicanery wins the case.
At this point it's so far so good. In addition to Jay Adler veteran character actor Ellen Corby plays his secretary. Ms. Corby gets a bigger than usual role and as expected comes through in flying colors I’m thinking we have the possibility of an enjoyable fun film along the likes of Brother Orchid. I’ve no doubt the pairing of Corby and Adler would have resulted in some great scenes. There were a couple of courtroom shenanigans that would have played wonderfully in a comedy/drama.
However the film takes off in another direction. E.G. become a ruthless criminal lawyer with his goal to ensure that no innocent man pays the ultimate price. He says at one point, “As for me, I'd rather see a hundred guilty men go free than convict another innocent man.” This is a laudable goal but through an unforeseen set of circumstances Scott winds up as lawyer for crime boss Frank Garland played by Albert Dekker.
Illegal does not lack for talent, yet that talent is not utilized as well as it could have been. Albert Dekker is a good adversary for Scott. He more than holds his own with Robinson yet we don’t see much of him until the movie is more than halfway done.
However the film takes off in another direction. E.G. become a ruthless criminal lawyer with his goal to ensure that no innocent man pays the ultimate price. He says at one point, “As for me, I'd rather see a hundred guilty men go free than convict another innocent man.” This is a laudable goal but through an unforeseen set of circumstances Scott winds up as lawyer for crime boss Frank Garland played by Albert Dekker.
Illegal does not lack for talent, yet that talent is not utilized as well as it could have been. Albert Dekker is a good adversary for Scott. He more than holds his own with Robinson yet we don’t see much of him until the movie is more than halfway done.
There is a lack of chemistry between the men and leading ladies. Nina Foch plays his secretary. She admires Scott’s ability as a lawyer and has a romantic attachment to him as well. He sees it as misplaced infatuation toward an elderly mentor and tries instead to find her a suitable husband. There is almost a similar scenario in Suspect. Ella Raines and Charles Laughton make a more unlikely couple than Foch and Robinson but in that film the relationship hits the mark.
Hugh Marlowe is Ray Borden the inspector for the D.A. who marries Foch. Hugh’s not a bad actor, and he’s been in some classics, with his high water mark in Rawhide. But I feel something is lacking between he and Foch. I would have liked to have seen him and DeForest Kelley switch roles. Kelley has shown demonstrativeness in previous roles and it would have a nice contrast to the cool, somewhat regal presence of Nina Foch. This is a film for fans of Robinson, Ellen Corby and Albert Dekker.
The film runs for 88 minutes, and ten minutes could easily have been cut. We've all heard the expression the the whole being greater than the sum of its parts. That adage fits many B movies. Illegal is the opposite of that idiom. The film is not bad, nor is it good, it is lukewarm, it blows neither hot or cold.
It's impossible not to recommend any movie that stars Edward G. Robinson and that will have to suffice.
Hugh Marlowe is Ray Borden the inspector for the D.A. who marries Foch. Hugh’s not a bad actor, and he’s been in some classics, with his high water mark in Rawhide. But I feel something is lacking between he and Foch. I would have liked to have seen him and DeForest Kelley switch roles. Kelley has shown demonstrativeness in previous roles and it would have a nice contrast to the cool, somewhat regal presence of Nina Foch. This is a film for fans of Robinson, Ellen Corby and Albert Dekker.
The film runs for 88 minutes, and ten minutes could easily have been cut. We've all heard the expression the the whole being greater than the sum of its parts. That adage fits many B movies. Illegal is the opposite of that idiom. The film is not bad, nor is it good, it is lukewarm, it blows neither hot or cold.
It's impossible not to recommend any movie that stars Edward G. Robinson and that will have to suffice.
The film has an appearance by Henry Kulky. Kulky gets cold cocked twice, once by Jay Adler (off-screen) and again by E.G. Robinson. The face and voice is familiar to probably millions of boomers. I remember him from Kill The Umpire, where he gave the beleaguered William Bendix a tough time. He reunited with Bendix in the classic The Life of Riley, in a recurring role as Otto Schmidlap.
THE DEVIL THUMBS A RIDE
3/5 Stars
1947-62 minutes.
Dir. Felix Feist--Tomorrow Is Another Day, The Man Who Cheated Himself, The Threat.
Lawrence Tierney-Born To Kill, The Hoodlum, Kill Or Be Killed.
Nan Leslie--Train To Tombstone, Wild Horse Mesa
Ted North--Charlie Chan In Rio
Glen Vernon--Bedlam (The Gilded Boy), Impact
Harry Shannon- The Mummy’s Ghost, The Red House, Where Danger Lives.
Dir. Felix Feist--Tomorrow Is Another Day, The Man Who Cheated Himself, The Threat.
Lawrence Tierney-Born To Kill, The Hoodlum, Kill Or Be Killed.
Nan Leslie--Train To Tombstone, Wild Horse Mesa
Ted North--Charlie Chan In Rio
Glen Vernon--Bedlam (The Gilded Boy), Impact
Harry Shannon- The Mummy’s Ghost, The Red House, Where Danger Lives.
A movie with Lawrence Tierney as a murderer holding three hostages sounds like a can’t miss movie, doesn’t it? Wrong. The Devil Thumbs A Ride, runs for sixty-two minutes which is fine for a B movie. However, a B movie must have little, if any, fat and it must adhere to a basic story line. There is little time for sub-plots nor an abundance of character and supporting actors. The film must follow the K.I.S.S. principle. (Keep It Simple Stupid) TDTAR tries to do too much in too short a time and in the end the film is a disappointment.
Jimmy Ferguson (Ted North) is driving home from a combination birthday and wedding anniversary party given by friends. He gives a ride to Steve Morgan (Lawrence Tierney) who has killed a jeweler and needs to escape. (Get-A-Way Cars R-Us must have been closed) At a gas station Jimmy calls home and explains to his wife and mother-in-law where their Jimmy has been and not to worry. Two women who have missed their bus ask for a ride. Carol (Nan Leslie) is a sweet girl who wants to make it in Hollywood. Agnes is a blonde, world weary, street wise floozy. The fat could have been trimmed had Jimmy been single and eliminated the needless wife and mother-in-law sub plot. That would have left us with two women and two men.
The gas station attendant, Jack Kenney (Glen Vernon) hears a description of Morgan on the radio. He identifies Morgan’s mug shot at the police station. Then, as if we don’t have enough deflections from the story, Kenny finagles his way to accompany the detective as they chase Morgan. Kenney should have been a one scene character; instead he’s with us for the entire movie. The irony is Kenny and the detective (Harry Shannon) often over-shadow the main plot.
Jimmy Ferguson (Ted North) is driving home from a combination birthday and wedding anniversary party given by friends. He gives a ride to Steve Morgan (Lawrence Tierney) who has killed a jeweler and needs to escape. (Get-A-Way Cars R-Us must have been closed) At a gas station Jimmy calls home and explains to his wife and mother-in-law where their Jimmy has been and not to worry. Two women who have missed their bus ask for a ride. Carol (Nan Leslie) is a sweet girl who wants to make it in Hollywood. Agnes is a blonde, world weary, street wise floozy. The fat could have been trimmed had Jimmy been single and eliminated the needless wife and mother-in-law sub plot. That would have left us with two women and two men.
The gas station attendant, Jack Kenney (Glen Vernon) hears a description of Morgan on the radio. He identifies Morgan’s mug shot at the police station. Then, as if we don’t have enough deflections from the story, Kenny finagles his way to accompany the detective as they chase Morgan. Kenney should have been a one scene character; instead he’s with us for the entire movie. The irony is Kenny and the detective (Harry Shannon) often over-shadow the main plot.
In the first fifteen minutes, we have eight characters, the main plot, three sub-plots with more to come. Does this sound like K.I.S.S. to you? A saving grace is Tierney gets the best line of the film at the expense of Jack's daughter's over-sized ears. "By the look of those ears she's gonna fly before she walks." Morgan chuckles, so it's okay, no hard feelings it's all good. You can see in the clip below the potential this movie had to be a bona fide classic B movie. But, as in life, too many cooks spoilt the soup.
Further down the road Morgan runs down a cop (but let’s not get into that). He suggests they spend the night at Jimmy’s friend’s beach house before calling the police about the injured cop they left on the highway.
The caretaker (Andrew Tombes) comes to check on what should be an empty house. Morgan wants to get him drunk so he can pass out. More valuable screen time is wasted as the lush regales us with humorless jokes, guzzles whiskey from a tumbler and knocks over furniture before he flops on the couch dead to the world. The caretaker should have been introduced and disposed of in a short time. Look at Killer On The Loose, for how to eliminate characters who have served their purpose in the film. It would have been easy for Morgan to knock him off, but:
Further down the road Morgan runs down a cop (but let’s not get into that). He suggests they spend the night at Jimmy’s friend’s beach house before calling the police about the injured cop they left on the highway.
The caretaker (Andrew Tombes) comes to check on what should be an empty house. Morgan wants to get him drunk so he can pass out. More valuable screen time is wasted as the lush regales us with humorless jokes, guzzles whiskey from a tumbler and knocks over furniture before he flops on the couch dead to the world. The caretaker should have been introduced and disposed of in a short time. Look at Killer On The Loose, for how to eliminate characters who have served their purpose in the film. It would have been easy for Morgan to knock him off, but:
DNo one knows Morgan is a murderer until we’re forty minutes into the film. They just think he’s an obnoxious, good looking bully. Had he been introduced as a murderer early in the film it would have created immediate tension, think The Hitch-Hiker (1953). All of the chicanery and ludicrous reasons used for skirting police road blocks, not reporting the injured cop, and bringing in comic relief when comedy is the last thing this film needs, could have been done away with had they known Morgan was a killer.
Would it have been difficult to have Tierney put a gun to Jimmy's head, tell him to do as told or he’ll get whacked? Rather than K.I.S.S. this movie is close to FUBAR (F*^& Up Beyond All Recognition). It’s not until fifty minutes in do we see the vile and nasty side of Morgan. It’s a shocking and surprising moment and the film could have used more of that. Felix Feist directed the B movie gems, The Threat, and Tomorrow Is Another Day. In this case I don’t think he had, nor was interested in reworking the story. He had a script and a deadline. And meeting the deadline is key to the bottom line.
The movie doesn’t know what it wants to be. The elements of comedy are needless. The film breaks every rule needed to make a good B movie. The devil thumbed a ride took hostages and we wait for Tierney to explode but instead he’s like the proverbial check in the mail. Despite my misgivings, which is more of a disappointment as to what might have been rather than a failure of the movie this film is worth watching.
Would it have been difficult to have Tierney put a gun to Jimmy's head, tell him to do as told or he’ll get whacked? Rather than K.I.S.S. this movie is close to FUBAR (F*^& Up Beyond All Recognition). It’s not until fifty minutes in do we see the vile and nasty side of Morgan. It’s a shocking and surprising moment and the film could have used more of that. Felix Feist directed the B movie gems, The Threat, and Tomorrow Is Another Day. In this case I don’t think he had, nor was interested in reworking the story. He had a script and a deadline. And meeting the deadline is key to the bottom line.
The movie doesn’t know what it wants to be. The elements of comedy are needless. The film breaks every rule needed to make a good B movie. The devil thumbed a ride took hostages and we wait for Tierney to explode but instead he’s like the proverbial check in the mail. Despite my misgivings, which is more of a disappointment as to what might have been rather than a failure of the movie this film is worth watching.
THE HOODLUM
3.50/5 Stars
The Hoodlum (1951) 61 minutes.
Max Nosseck--Dillinger, Kill or Be Killed
Aline Robert--The Red House, Union Station
Lisa Golm---Possessed, Come Back Little Sheba
Edward Tierney--A lot of movies filmed in Europe.
Max Nosseck--Dillinger, Kill or Be Killed
Aline Robert--The Red House, Union Station
Lisa Golm---Possessed, Come Back Little Sheba
Edward Tierney--A lot of movies filmed in Europe.
If The Devil Thumbs A Ride is a primer on how not to make a low budget B then The Hoodlum is text-book on how to make one. Director Max Nosseck doesn’t waste a minute of the sixty one minute film. Tierney plays Vincent Lubeck and through a series of flashbacks we see him progress from a vicious, anti-social juvenile punk into a degenerate, sociopathic, unrepentant low life. Lawrence Tierney described his role in an interview with Eddie Mueller: "You know that picture I made, The Hoodlum, for Max Nosseck? I hate that picture. For some reason they always cast me as the mean asshole."
Be that as it may, but a*^%%%s are a dime a dozen. Lubeck is a bona fide psychopath. Lubeck is a bully, and as such preys on those who are weaker and those who put their trust in him. Lubeck literally destroys his entire family, from his father to brother and his fiancé and finally his Mother. Vince’s younger brother, Johnnie, played by real life brother, Edward Tierney, is Vince's polar opposite. When Vince is released on parole Johnnie makes it plain he'd rather have cockroaches in the refrigerator than have him around the apartment, but he's doing it for Mom, played by Lisa Golm. Johnnie is a hard-working gas station owner engaged to Rosa; a nice, sweet girl played by Aline Roberts. This is one B movie that could have used an extra five or ten or minutes if only to further develop the relationship between Eddie’s girl-friend (Alline Roberts) and Tierney.
Kudos to Lisa Golm as Ma Lubeck who is the most suffering Mother since Beryl Mercer played Ma Powers in, The Public Enemy. It's Mom’s heart-wrenching pleading that gets her son paroled against the better judgment of the warden. Only when it’s too late does she realize the true nature of her wayward son.
Be that as it may, but a*^%%%s are a dime a dozen. Lubeck is a bona fide psychopath. Lubeck is a bully, and as such preys on those who are weaker and those who put their trust in him. Lubeck literally destroys his entire family, from his father to brother and his fiancé and finally his Mother. Vince’s younger brother, Johnnie, played by real life brother, Edward Tierney, is Vince's polar opposite. When Vince is released on parole Johnnie makes it plain he'd rather have cockroaches in the refrigerator than have him around the apartment, but he's doing it for Mom, played by Lisa Golm. Johnnie is a hard-working gas station owner engaged to Rosa; a nice, sweet girl played by Aline Roberts. This is one B movie that could have used an extra five or ten or minutes if only to further develop the relationship between Eddie’s girl-friend (Alline Roberts) and Tierney.
Kudos to Lisa Golm as Ma Lubeck who is the most suffering Mother since Beryl Mercer played Ma Powers in, The Public Enemy. It's Mom’s heart-wrenching pleading that gets her son paroled against the better judgment of the warden. Only when it’s too late does she realize the true nature of her wayward son.
There have been scores of films where misogyny is displayed through violence. What was once a slap, or maybe two, in the 40s was elevated in the 1950s. There is Jean Peters beaten and thrown about her apartment by Richard Kiley in Pickup On South Street. John Russell brutally beating June Blair in Hell Bound. Tierney’s abuse of Rosa is verbal and psychological. His treatment of her is despicable, and his comments afterward are as evil as they come and illustrate the total depravity of Lubeck. The sub plot with Tierney and Roberts could have used an extra scene perhaps, but in this film time is of the essence.
Lubeck is a loser. His lengthy police record is due as much to ineptitude as criminality. In the film he’s played for a chump by his partners in a bank robbery. He meekly leaves a woman's apartment when she confronts him. It’s only against the weak and naïve does Lubeck enjoy any success, and that is always short lived. Tierney carries the movie, as he seems to do with any B movie, with no tricks, no gimmicks, but solely on his charisma, personality and an appearance of a volcano bubbling on the surface.
Lubeck is a loser. His lengthy police record is due as much to ineptitude as criminality. In the film he’s played for a chump by his partners in a bank robbery. He meekly leaves a woman's apartment when she confronts him. It’s only against the weak and naïve does Lubeck enjoy any success, and that is always short lived. Tierney carries the movie, as he seems to do with any B movie, with no tricks, no gimmicks, but solely on his charisma, personality and an appearance of a volcano bubbling on the surface.
This is a film of a family torn apart by the return but not redemption, of the prodigal son. We can empathize for Mrs. Lubeck whose years of devotion, love and faith have been for naught. The death bed scene is wonderfully done. Too late does Lubeck shows some humanity and only when his Mom plaintively asks her son, "What more can I do for you? Go to the electric chair for you?
In sixty one minutes Nossek’s, The Hoodlum, gives us a fine B movie. It's not a pretty film, as the best B movies should not be, but The Hoodlum successfully portrays a harsh and brutal man from an equally brutal and harsh environment.
I def. recommend this movie.
In sixty one minutes Nossek’s, The Hoodlum, gives us a fine B movie. It's not a pretty film, as the best B movies should not be, but The Hoodlum successfully portrays a harsh and brutal man from an equally brutal and harsh environment.
I def. recommend this movie.
A FEW QUICK NOTES ON LAWRENCE TIERNEY
From what I understand neither Nosseck or Tierney could stand each other. They were paired in four films starting with his breakthrough role in, Dillinger, so it couldn't have been all that bad could it?
In their penultimate film, the moribund, Kill Or Be Killed, we see Tierney in a different light. He's the good guy. He gets to sing, dance, tell jokes and show off his athleticism.
There is no disputing his on screen presence, his sex appeal and his charisma and while there's no disputing Ralph Meeker' great interpretation of Mike Hammer, I think Lawrence Tierney would have been great as the hard-boiled Irish-American private eye. It seems like a role he was made for.
Tierney was best when playing off other actors, and the better the actor the better performance he gave. His co-stars inDillinger, were Elisha Cook Jr, Marc Lawrence, Eduardo Cianelli and Edmund Lowe. And in Born To Kill, it was Cook again and the great Claire Trevor. While he could carry a low budget B film, his forte seemed to be in ensambles.
The following scene belongs to Lisa Golm, but we see a sympathetic side to Lubeck effectively played by Tierney.
In their penultimate film, the moribund, Kill Or Be Killed, we see Tierney in a different light. He's the good guy. He gets to sing, dance, tell jokes and show off his athleticism.
There is no disputing his on screen presence, his sex appeal and his charisma and while there's no disputing Ralph Meeker' great interpretation of Mike Hammer, I think Lawrence Tierney would have been great as the hard-boiled Irish-American private eye. It seems like a role he was made for.
Tierney was best when playing off other actors, and the better the actor the better performance he gave. His co-stars inDillinger, were Elisha Cook Jr, Marc Lawrence, Eduardo Cianelli and Edmund Lowe. And in Born To Kill, it was Cook again and the great Claire Trevor. While he could carry a low budget B film, his forte seemed to be in ensambles.
The following scene belongs to Lisa Golm, but we see a sympathetic side to Lubeck effectively played by Tierney.
CHICAGO CALLNG
4/5 Stars
75min. 1951
John Reinhardt--For You I Die, High Tide, The Guilty
Dan Duryea--Winchester 73, Ride Clear of Diablo, Sahara, Six Black Horses, Black Angel, Johnny Stool Pigeon
Mary Anderson--Lifeboat, The Underworld Story, I, The Jury
Gordon Gebert--To Hell and Back, The Narrow Margin, Holiday Affair
Ross Elliott-----Gun Crazy, The Crooked Way, The Indestructible Man, Tarantula.
Roy Engel—------D.O.A. Not of This Earth, M
Dick Curtis—----A boatload of Three Stooges shorts.
John Reinhardt--For You I Die, High Tide, The Guilty
Dan Duryea--Winchester 73, Ride Clear of Diablo, Sahara, Six Black Horses, Black Angel, Johnny Stool Pigeon
Mary Anderson--Lifeboat, The Underworld Story, I, The Jury
Gordon Gebert--To Hell and Back, The Narrow Margin, Holiday Affair
Ross Elliott-----Gun Crazy, The Crooked Way, The Indestructible Man, Tarantula.
Roy Engel—------D.O.A. Not of This Earth, M
Dick Curtis—----A boatload of Three Stooges shorts.
William Cannon (Dan Duryea) comes home one morning from a friend's house after sleeping off a drunk. He sees his wife packing to leave, along with their daughter, to stay with her mother in Baltimore. Cannon’s drinking has cost him his job, and may cost him his family as well. En route to Baltimore they are in a car accident and the daughter is seriously injured. His wife (Mary Anderson) sends him a telegram and will call the next day after the operation.
However he hasn’t paid his phone bill for months and unless he comes up with fifty-three dollars the phone, already disconnected, will be taken out. The amount is not trivial, fifty three dollars adjusted to 2020 is $534.00. What follows next is Cannon’s Herculean effort to pay the phone bill and with it a last chance to keep his family together. Chicago Calling has elements of a melodrama but Dan Duryea's unquestioned acting ability and director John Reinhardt’s underappreciated directorial skills give the film a gritty film noir look and thus evading the trap of becoming a syrupy, melodrama.
The Bunker Hill section of Los Angeles has been used in many films as a set piece, not much more than a phony store front on a studio lot. Chicago Calling uses Bunker Hill as another character in the film. It gives the film a documentary feel and a sense of gravitas and depth that most low budget B films lack. Raymond Chandler wrote this: “Bunker Hill is old town, lost town, shabby town, crook town... landladies bicker with shifty tenants. On the wide cool front porches...sit the old men with faces like lost battles."
With a few shots of steep stairs leading down to another set of steep descending stairs, rickety wooden steps leading up to rickety apartments and narrow passage ways between buildings where kids play Reinhardt tells us all we need to know about the neighborhood. with these few shots. The cinematography by Robert DeGrasse is top-shelf. Two films of his that are reminiscent in style are; The Window (also set in a low income neighborhood but in New York City) and Val Lewton’s The Body Snatcher. The writing is crisp with no wise-cracks, nor snappy witticisms. The dialogue is direct and utilitarian; perfect for the makeup of the people and locale.
However he hasn’t paid his phone bill for months and unless he comes up with fifty-three dollars the phone, already disconnected, will be taken out. The amount is not trivial, fifty three dollars adjusted to 2020 is $534.00. What follows next is Cannon’s Herculean effort to pay the phone bill and with it a last chance to keep his family together. Chicago Calling has elements of a melodrama but Dan Duryea's unquestioned acting ability and director John Reinhardt’s underappreciated directorial skills give the film a gritty film noir look and thus evading the trap of becoming a syrupy, melodrama.
The Bunker Hill section of Los Angeles has been used in many films as a set piece, not much more than a phony store front on a studio lot. Chicago Calling uses Bunker Hill as another character in the film. It gives the film a documentary feel and a sense of gravitas and depth that most low budget B films lack. Raymond Chandler wrote this: “Bunker Hill is old town, lost town, shabby town, crook town... landladies bicker with shifty tenants. On the wide cool front porches...sit the old men with faces like lost battles."
With a few shots of steep stairs leading down to another set of steep descending stairs, rickety wooden steps leading up to rickety apartments and narrow passage ways between buildings where kids play Reinhardt tells us all we need to know about the neighborhood. with these few shots. The cinematography by Robert DeGrasse is top-shelf. Two films of his that are reminiscent in style are; The Window (also set in a low income neighborhood but in New York City) and Val Lewton’s The Body Snatcher. The writing is crisp with no wise-cracks, nor snappy witticisms. The dialogue is direct and utilitarian; perfect for the makeup of the people and locale.
Duryea’s quest to keep his phone begins on a positive note when he convinces the lineman (Ross Elliott) for an extra day to get the money. He tries to hit up his buddy Pete (Roy Engel), a functioning alcoholic who works as a short order cook. Dan asks for twenty five dollars. They’re friends he tells Pete and he’s good for the twenty five. Pete agrees that they are good friends and he knows he’s NOT good for the twenty five.
Duryea is joined in his search by a neighborhood kid Bobby (Gordon Gebert). Mr. Gebert is excellent. Gordon was Janet Leigh’s son in Holiday Affair, the young Audie Murphy in To Hell and Back and the boy in Narrow Margin. The film doesn’t lose a step with his performance. They meet when Dan stops at a lunch wagon and the kid accidentally runs into Dan’s dog. Bobby is an orphan and lives with his sister who has cared for him since she was sixteen. She is engaged and after she's married will put him in a foster home.
Duryea is joined in his search by a neighborhood kid Bobby (Gordon Gebert). Mr. Gebert is excellent. Gordon was Janet Leigh’s son in Holiday Affair, the young Audie Murphy in To Hell and Back and the boy in Narrow Margin. The film doesn’t lose a step with his performance. They meet when Dan stops at a lunch wagon and the kid accidentally runs into Dan’s dog. Bobby is an orphan and lives with his sister who has cared for him since she was sixteen. She is engaged and after she's married will put him in a foster home.
This is the pivotal scene in the film. It’s where Cannon starts to regain some of his long lost self respect.
Dan stops to get some lunch. A man getting a shoe shine hears Dan talk about his plight to the counter lady. He approaches Cannon and offers him a way to get the money. He’s from a show that’s an obvious reference to the obscene Queen for A Day. He’ll pay Cannon to come on the show and pitch his tale of woe and desperation to millions of television viewers. Cannon forcefully rebuffs him. His troubles are his own and not for public consumption. One has to admire a man who can keep his pride. His pride and self-respect has been tested and there will be a time when his moral character will be as well. It is at this coffee truck Bill receives the first of several kind and generous gestures from strangers. Another is when the kid loses a money clip he took from his sister's beau at ballgame that Bill takes him to see. The clip had over a hundred dollars and prospects look dim. However an honest person brought the clip to the lost and found. This can certainly be seen as figurative or literal case of divine intervention.
On a quick side note. It was a bonus to see some action from The Pacific Coast League. The PCL played excellent baseball and some notable players were: the DiMaggio Brothers, Ted Williams, Lefty Gomez, Tony Lazzeri, Ernie Lombardi, Earl Averill Paul Warner and a slew of others.
Dan stops to get some lunch. A man getting a shoe shine hears Dan talk about his plight to the counter lady. He approaches Cannon and offers him a way to get the money. He’s from a show that’s an obvious reference to the obscene Queen for A Day. He’ll pay Cannon to come on the show and pitch his tale of woe and desperation to millions of television viewers. Cannon forcefully rebuffs him. His troubles are his own and not for public consumption. One has to admire a man who can keep his pride. His pride and self-respect has been tested and there will be a time when his moral character will be as well. It is at this coffee truck Bill receives the first of several kind and generous gestures from strangers. Another is when the kid loses a money clip he took from his sister's beau at ballgame that Bill takes him to see. The clip had over a hundred dollars and prospects look dim. However an honest person brought the clip to the lost and found. This can certainly be seen as figurative or literal case of divine intervention.
On a quick side note. It was a bonus to see some action from The Pacific Coast League. The PCL played excellent baseball and some notable players were: the DiMaggio Brothers, Ted Williams, Lefty Gomez, Tony Lazzeri, Ernie Lombardi, Earl Averill Paul Warner and a slew of others.
The lack of big stars (most often a plus in most B movies) and non-actors adds a touch of cinema verite to the film. Roy Engel deserves special consideration. Noir fans will recognize him as the police lieutenant to whom Edmond O’Brien reported a murder. He’s Cannon’s drinking buddy and the exchanges with his wife bring some necessary humor to the film. As usual Engel’s contribution to the film was far greater than his amount of screen time.
Many will remember Dick Curtis from the Three Stooges. He brought havoc to the lads as a perennial bad guy who ultimately got his just desserts. He’s a construction foreman who gives Cannon a chance to make some money. It’s an actual construction site with real laborers, real jack-hammers and it exemplifies Cannon’s determination to re-connect with his family. This film gives a great look at the backbone of the United States; the blue collar working class which non-coincidentally might be the pre-eminent reason for the explosion of film noir.
Reinhardt has given the viewer one of the best looks at the heart and soul of the United States. Like a tourist who eschews the perfunctory must-see attractions, he shows us the working class neighborhoods and its inhabitants where many, like today live day by day, and for the greater part are good, honest, hard-working, decent compassionate people. The genesis of film noir lies in this demographic.
Many will remember Dick Curtis from the Three Stooges. He brought havoc to the lads as a perennial bad guy who ultimately got his just desserts. He’s a construction foreman who gives Cannon a chance to make some money. It’s an actual construction site with real laborers, real jack-hammers and it exemplifies Cannon’s determination to re-connect with his family. This film gives a great look at the backbone of the United States; the blue collar working class which non-coincidentally might be the pre-eminent reason for the explosion of film noir.
Reinhardt has given the viewer one of the best looks at the heart and soul of the United States. Like a tourist who eschews the perfunctory must-see attractions, he shows us the working class neighborhoods and its inhabitants where many, like today live day by day, and for the greater part are good, honest, hard-working, decent compassionate people. The genesis of film noir lies in this demographic.
I don’t think any actor could have been as effective in this role as Duryea. The actor who gave us Slim Dundee from Criss Cross, and Johnny Prince in Scarlet Street, portrays a down to earth, sympathetic man combating internal and external struggles. There are few close up shots in this movie but when he gets that call from Chicago the result is outstanding. Contrary to his on-screen persona the real Dan was a doting and loving father and a faithful and devoted husband and it shows in this film. When the film is over one will never look at Dan Duryea the same way.
Chicago Calling is a film about loss; Duryea’s loss of self-respect, Bobby's loss of a father, a potential loss of a marriage. We empathize with Cannon’s struggles to make a go in life and his despair at falling short.
It is also a film of hope, the reaffirmation of trust, reconciliation and the generosity of people whose only connection with Cannon is a shared thread of common humanity. The film shows there is always a path to redemption albeit at a cost. I def. recommend this film.
Chicago Calling is a film about loss; Duryea’s loss of self-respect, Bobby's loss of a father, a potential loss of a marriage. We empathize with Cannon’s struggles to make a go in life and his despair at falling short.
It is also a film of hope, the reaffirmation of trust, reconciliation and the generosity of people whose only connection with Cannon is a shared thread of common humanity. The film shows there is always a path to redemption albeit at a cost. I def. recommend this film.
FEMALE JUNGLE
3.5/5 Stars
73min. 1955
Dir. Bruno VeSota-----The Brain Eaters, Invasion of the Star Creatures
Lawrence Tierney-----Prizzi's Honor, Resevoir Dogs, Starstruck
John Carradine--------The Grapes of Wrath, Bluebeard, Swamp Water
Burt Kaiser------------I Led 3 Lives, Flight (TV)
Kathleen Crowley------Waterfront, Maverick, 77 Sunset Strip (TV)
Duane Grey------------Rawhide, Bonanza (TV)
Jayne Mansfield--------Illegal, The Burglar, The George Raft Story
Dir. Bruno VeSota-----The Brain Eaters, Invasion of the Star Creatures
Lawrence Tierney-----Prizzi's Honor, Resevoir Dogs, Starstruck
John Carradine--------The Grapes of Wrath, Bluebeard, Swamp Water
Burt Kaiser------------I Led 3 Lives, Flight (TV)
Kathleen Crowley------Waterfront, Maverick, 77 Sunset Strip (TV)
Duane Grey------------Rawhide, Bonanza (TV)
Jayne Mansfield--------Illegal, The Burglar, The George Raft Story
The more crime/mystery/noir films I watch the tougher it is to find one worth my time to write a review. When Female Jungle opened with a blaring saxophone, a hot female getting out of a cab in front of an empty bar and then getting murdered across the street I thought to myself, 'so far so good.' Suffice it to say but 'so far so good' made it all the way to the end.
Perhaps the biggest reason why the 50s were called The Golden Age of Television was the combination of seasoned actors, primarily from the 40s but some as far back as the silents, with equally talented newer and younger actors. This is a must have template for almost any new director and especially those with a limited budget. Quentin Tarantino's Reservoir Dogs and Pulp Fiction are great examples. Coincidentally Lawrence Tierney starred in both Reservoir Dogs and Female Jungle.
John Carradine joins Lawrence Tierney as another of the prerequisite seasoned actors. There are a couple of respectful homages to their previous screen personas. John Carradine stands outside a door dressed as if he's just off the boat from Transylvania. We first see Lawrence Tierney leaning outside the back door of the bar literally three sheets to the wind wondering how he got there and then being ripped a new one by his superior officer.
Another seasoned veteran is the celebrated cinematographer Elwood Bredell. This would be Mr. Bredell's swan song to a career spanning three decades that included Phantom Lady, The Killers, Hellzapoppin' and Christmas Holiday.
Perhaps the biggest reason why the 50s were called The Golden Age of Television was the combination of seasoned actors, primarily from the 40s but some as far back as the silents, with equally talented newer and younger actors. This is a must have template for almost any new director and especially those with a limited budget. Quentin Tarantino's Reservoir Dogs and Pulp Fiction are great examples. Coincidentally Lawrence Tierney starred in both Reservoir Dogs and Female Jungle.
John Carradine joins Lawrence Tierney as another of the prerequisite seasoned actors. There are a couple of respectful homages to their previous screen personas. John Carradine stands outside a door dressed as if he's just off the boat from Transylvania. We first see Lawrence Tierney leaning outside the back door of the bar literally three sheets to the wind wondering how he got there and then being ripped a new one by his superior officer.
Another seasoned veteran is the celebrated cinematographer Elwood Bredell. This would be Mr. Bredell's swan song to a career spanning three decades that included Phantom Lady, The Killers, Hellzapoppin' and Christmas Holiday.
To go along with old guys there are at least six young talents none older than thirty-four that exemplify the changing of the guard from the 40s to the 50s. The lead actress is Kathleen Crowley who had a nice career as a guest in scores of television shows. Connie Cezon the receptionist in Perry Mason and the foil in several Three Stooges and Duane Grey are familiar to many Boomers. Another recognizable face is Davis Roberts. There is an additional bonus as the viewing public is 'introduced' to Jayne Mansfield. This was her first substantive role and she does a good job as one of the females in the jungle.
The term 'stole the movie,' is enough to make me shout, "BASTA!" But in this case we have a textbook 101 example. James Kodl is the owner of the bar who only wants to shut the place and go home. He's stuck there however until the cops are done with their job. Mr.Kodl gets some excellent lines. There was something familiar about him and it dawned on me that he resembles John Santucci who played Paulie Taglia. in Crime Story.
Kudos go to producer, writer, and lead actor Burt Kaiser. Female Jungle was his only movie credit and I'm surprised he did not do more. He had the dark looks and street wise attitude of a Robert DeNiro and Al Pacino. Somewhere someone should have been looking out for him, for he could have been a contender. Mr. Kaiser plays Alex Voe who makes a few bucks as a caricaturist (the caricatures were done by Director and renaissance man Bruno VeSota.) Kathleen Crowley plays Mrs. Voe. She works at the bar across from where the actress was murdered. Alex is mad that he's living in a hovel, he's mad he's not recognized as the next Abe Hirschfeld (IMO), and he gets madder when he returns to his apartment and there's John Carradine alone with Mrs. Voe. He explains it all by saying he's only there to have a caricature done.
The term 'stole the movie,' is enough to make me shout, "BASTA!" But in this case we have a textbook 101 example. James Kodl is the owner of the bar who only wants to shut the place and go home. He's stuck there however until the cops are done with their job. Mr.Kodl gets some excellent lines. There was something familiar about him and it dawned on me that he resembles John Santucci who played Paulie Taglia. in Crime Story.
Kudos go to producer, writer, and lead actor Burt Kaiser. Female Jungle was his only movie credit and I'm surprised he did not do more. He had the dark looks and street wise attitude of a Robert DeNiro and Al Pacino. Somewhere someone should have been looking out for him, for he could have been a contender. Mr. Kaiser plays Alex Voe who makes a few bucks as a caricaturist (the caricatures were done by Director and renaissance man Bruno VeSota.) Kathleen Crowley plays Mrs. Voe. She works at the bar across from where the actress was murdered. Alex is mad that he's living in a hovel, he's mad he's not recognized as the next Abe Hirschfeld (IMO), and he gets madder when he returns to his apartment and there's John Carradine alone with Mrs. Voe. He explains it all by saying he's only there to have a caricature done.
Every movie should have a plot...the operative word is 'should,' that is fairly easy to follow. There is no bigger B movie killer than one that has a plot whose complexity rivals common core math. Female Jungle has a simple plot; an actress is murdered across from a bar, and we're introduced to a list of suspects. A plethora of characters is a tricky situation especially within a compressed (80 minutes is more than enough time for a good B movie) time frame, but VeSota manages this large cast expertly. The suspects are: off-duty cop (Lawrence Tierney) who got S&#% faced at the bar, a columnist (John Carradine) who was associated with the victim a caricaturist (Burt Kaiser) who drew the victim, the caricaturist's wife (Kathleen Crowley) who works at the bar, and the caricaturist's lover (Jayne Mansfield).
Director VeSota does an excellent job of meshing all these threads together. This is not an action packed shoot 'em up, in fact there are no gun shots at all, rather a fairly decent murder/mystery with an effective off-beat feel to it. The movie is well acted by everyone, and that may in some part be due to the mixture of experienced big time stars, and newer and younger actors. In my opinion this is a a classic example of a well done low budget B movie. I'm a big fan of films like Hell Bound and Plunder Road and this movie would make a good triple header. We get the impression that this was a fun movie to make. There is one scene where Lawrence Tierney, who was remarkably restrained throughout, can be seen trying to stifle a laugh at one of James Kodl's rants. And to top it off, the action takes place in real time; be sure to catch the end of a phone call near the end of the film.
The caricatures that are prominently displayed and mentioned throughout, were done by Director Bruno VeSota. Shown below is one that might have inspired a certain Rocky and Bullwinkle villain.
I def. recommend this.
Director VeSota does an excellent job of meshing all these threads together. This is not an action packed shoot 'em up, in fact there are no gun shots at all, rather a fairly decent murder/mystery with an effective off-beat feel to it. The movie is well acted by everyone, and that may in some part be due to the mixture of experienced big time stars, and newer and younger actors. In my opinion this is a a classic example of a well done low budget B movie. I'm a big fan of films like Hell Bound and Plunder Road and this movie would make a good triple header. We get the impression that this was a fun movie to make. There is one scene where Lawrence Tierney, who was remarkably restrained throughout, can be seen trying to stifle a laugh at one of James Kodl's rants. And to top it off, the action takes place in real time; be sure to catch the end of a phone call near the end of the film.
The caricatures that are prominently displayed and mentioned throughout, were done by Director Bruno VeSota. Shown below is one that might have inspired a certain Rocky and Bullwinkle villain.
I def. recommend this.
GUILTY BYSTANDER
3.25 /5 Stars
91min. 1950
Dir. Bruno Joseph Lerner-----
Zachary Scott----The Mask of Dimitrios, The Southerner, Mildred Pierce, Shadow on the Wall
Faye Emerson----Destination Tokyo, The Mask of Dimitrios
Mary Boland-----Ruggles of Red Gap, Hit Parade of 1941
Sam Levene------The Killers, Crossfire, Brute Force, The Purple Heart, The Mad Miss Manton
Kay Medford-----Swing Shift Maisie, and a lot of TV
Comp. Dimitri Tiomkin--D.O.A., High Noon, Red River, Lost Horizon, High Noon.
Dir. Bruno Joseph Lerner-----
Zachary Scott----The Mask of Dimitrios, The Southerner, Mildred Pierce, Shadow on the Wall
Faye Emerson----Destination Tokyo, The Mask of Dimitrios
Mary Boland-----Ruggles of Red Gap, Hit Parade of 1941
Sam Levene------The Killers, Crossfire, Brute Force, The Purple Heart, The Mad Miss Manton
Kay Medford-----Swing Shift Maisie, and a lot of TV
Comp. Dimitri Tiomkin--D.O.A., High Noon, Red River, Lost Horizon, High Noon.
1950 might arguably be called the best year for quality film noir/crime films. To mention only a few: Gun Crazy, In a Lonely Place, Night and The City, The Sound of Fury, Where The Sidewalk Ends, Sunset Boulevard and then there is Guilty Bystander. Zachary Scott plays a down on his luck degenerate drunk former cop Max Thursday. Thursday lives in a flea bag hotel where, when he's not sleeping off a drunk, he stumbles his way as the house dick. That changes when his wife comes to him and tells him he has to find their kidnapped son.
Guilty Bystander is replete with every noir and crime/mystery trope that fans have learned to love. There is some nice noir cinematography that highlights Thursday's odyssey through the dark underworld of outliers, criminals, crumb-bums, disbarred doctors, hit-men, jewel thieves even jay walkers and double-parkers. The plot is convoluted and hard to follow and we all know that for the most part that's a negative for a B-movie it's not necessarily a bad thing. A second viewing does show that the unraveling of the crime and the revelation of the criminal master mind all makes sense.
There is much to like in this film. There are a plethora of characters. They are all interesting but relatively few are even half developed. Either extend the movie another ten to fifteen minutes or cut at least ten along with a character or two. Un- characteristically for me but another fifteen minutes would not have hurt. Zach Scott has a nice screen presence but he seems to yell his lines throughout the movie, but he does have that certain je nais sais pas about him. Faye Emerson's role could have been played by any attractive blonde under contract. A nice surprise was Kay Medford. She looks great and adds a nice touch as the perfunctory floozy required in these sort of films. Sam Levene is a good actor, but his screen time is so limited it's like, "Sam, we hardly know ye." Harry Landers in an early role would show why he would go on to have a successful acting career. Mary Boland is Smitty the owner of the flea bag hotel who hires Thursday to keep away the riff-raff. No problem with her in fact she's pretty darn good.
The film was co-written by the Wade Miller and Robert Allison Wade. Miller's novel Badge of Evil was made into Touch of Evil and he also wrote A Cry In The Night. Guilty Bystander is a movie I would recommend and it definitely deserves a better print. Had Guilty Bystander been made in the mid 40s, with top notch cast, i.e. Murder, My Sweet it very well might have been a must see noir classic. The writing is good, cinematography very good as was the score. This is the sort of movie, like Female Jungle, that grows on you with subsequent viewings and it's one that deserves a wider audience.
It's worth a look.
Guilty Bystander is replete with every noir and crime/mystery trope that fans have learned to love. There is some nice noir cinematography that highlights Thursday's odyssey through the dark underworld of outliers, criminals, crumb-bums, disbarred doctors, hit-men, jewel thieves even jay walkers and double-parkers. The plot is convoluted and hard to follow and we all know that for the most part that's a negative for a B-movie it's not necessarily a bad thing. A second viewing does show that the unraveling of the crime and the revelation of the criminal master mind all makes sense.
There is much to like in this film. There are a plethora of characters. They are all interesting but relatively few are even half developed. Either extend the movie another ten to fifteen minutes or cut at least ten along with a character or two. Un- characteristically for me but another fifteen minutes would not have hurt. Zach Scott has a nice screen presence but he seems to yell his lines throughout the movie, but he does have that certain je nais sais pas about him. Faye Emerson's role could have been played by any attractive blonde under contract. A nice surprise was Kay Medford. She looks great and adds a nice touch as the perfunctory floozy required in these sort of films. Sam Levene is a good actor, but his screen time is so limited it's like, "Sam, we hardly know ye." Harry Landers in an early role would show why he would go on to have a successful acting career. Mary Boland is Smitty the owner of the flea bag hotel who hires Thursday to keep away the riff-raff. No problem with her in fact she's pretty darn good.
The film was co-written by the Wade Miller and Robert Allison Wade. Miller's novel Badge of Evil was made into Touch of Evil and he also wrote A Cry In The Night. Guilty Bystander is a movie I would recommend and it definitely deserves a better print. Had Guilty Bystander been made in the mid 40s, with top notch cast, i.e. Murder, My Sweet it very well might have been a must see noir classic. The writing is good, cinematography very good as was the score. This is the sort of movie, like Female Jungle, that grows on you with subsequent viewings and it's one that deserves a wider audience.
It's worth a look.
TIME TABLE
3.25/5 Stars
1956--- 80 Minutes
Dir. Mark Stevens--Cry Vengeance, Escape from Hell Island, A lot of television.
Mark Stevens-The Street With No Name, The Dark Corner, Torpedo Alley, Cry Vengeance
Felicia Farr--3:10 To Yuma, Charley Varrick, Big House, U.S.A.
Alan Reed--Voice of Fred Flintstone, The Postman...Twice, I, The Jury, Viva Zapata
Jack Klugman, Wesley Addie and John Marley also appear.
Dir. Mark Stevens--Cry Vengeance, Escape from Hell Island, A lot of television.
Mark Stevens-The Street With No Name, The Dark Corner, Torpedo Alley, Cry Vengeance
Felicia Farr--3:10 To Yuma, Charley Varrick, Big House, U.S.A.
Alan Reed--Voice of Fred Flintstone, The Postman...Twice, I, The Jury, Viva Zapata
Jack Klugman, Wesley Addie and John Marley also appear.
Time Table came out in 1956 but in style and production is reminiscent more of a 1940s noir than that of the 50s. Movies like The Big Heat, Shield For Murder, The Sniper, and Kiss Me Deadly were on the cutting edge of a new phrase for crime/mystery/detective movies. That can't be said for Time Table.
This Mark Stevens film (he directed and starred in it) resounds with noir tropes. There is a well planned heist, a double cross, a femme fatale, an insurance investigator, a quick trip to Mexico and an efficient group of character and B actors. The result is an all around enjoyable movie with a straight forward plot and solid acting. What it does lack however, and this is the case in most 50s version of film noir, is the ambitious chiaroscuro cinematography associated with film noir. In fact the cinematography lends itself more to television than film.
Time Table begins with a nicely creative heist set on a train. Mark Stevens plays Charlie Norman an insurance investigator (they were almost de riguer in the 40s). His long planned trip to Mexico with his wife is put aside when he's assigned to follow up on the heist. Norman is teamed with his boss Joe Armstrong (King Calder) who uses his own methodology to track down the criminals.
The slow and steady pacing of the film works well with the methodical solving of the heist. As is the case with most B movies it is helped by several memorable scenes with character actors. Marianne Stewart plays his faithful and loving wife in a role tailor made for Phyliss Thaxter. Jack Klugman is his usual understated and restrained self <sarc>. There are a few surprises as they pursue the heist's master mind and I'm not going to give them away.
There is nothing extraordinary about the film. It is far from great. Had it been done in the 40s it would be a better than average noir stuck somewhere in the middle range of films in that period. However as I stated previously that when one considers the evolution of the genre from ten prior, Time Table borders on being archaic; and that's not necessarily bad. To its credit there is a fairly shocking shootout at the end of the movie that ranks right up there with The Prowler and Shield For Murder.
The film runs for eighty minutes which is just about right. If you're looking for a rather unknown and unappreciated movie then this is for you. My visceral reaction to the film is that it's not a bad movie and it's not great. It is an okay film. "Not a bad movie + "an okay movie" = a movie worth watching.
Unexpected bonus: close your eyes when Alan Reed is delivering his lines and you'll be visualizing images of Fred Flintstone.
It is worth watching.
This Mark Stevens film (he directed and starred in it) resounds with noir tropes. There is a well planned heist, a double cross, a femme fatale, an insurance investigator, a quick trip to Mexico and an efficient group of character and B actors. The result is an all around enjoyable movie with a straight forward plot and solid acting. What it does lack however, and this is the case in most 50s version of film noir, is the ambitious chiaroscuro cinematography associated with film noir. In fact the cinematography lends itself more to television than film.
Time Table begins with a nicely creative heist set on a train. Mark Stevens plays Charlie Norman an insurance investigator (they were almost de riguer in the 40s). His long planned trip to Mexico with his wife is put aside when he's assigned to follow up on the heist. Norman is teamed with his boss Joe Armstrong (King Calder) who uses his own methodology to track down the criminals.
The slow and steady pacing of the film works well with the methodical solving of the heist. As is the case with most B movies it is helped by several memorable scenes with character actors. Marianne Stewart plays his faithful and loving wife in a role tailor made for Phyliss Thaxter. Jack Klugman is his usual understated and restrained self <sarc>. There are a few surprises as they pursue the heist's master mind and I'm not going to give them away.
There is nothing extraordinary about the film. It is far from great. Had it been done in the 40s it would be a better than average noir stuck somewhere in the middle range of films in that period. However as I stated previously that when one considers the evolution of the genre from ten prior, Time Table borders on being archaic; and that's not necessarily bad. To its credit there is a fairly shocking shootout at the end of the movie that ranks right up there with The Prowler and Shield For Murder.
The film runs for eighty minutes which is just about right. If you're looking for a rather unknown and unappreciated movie then this is for you. My visceral reaction to the film is that it's not a bad movie and it's not great. It is an okay film. "Not a bad movie + "an okay movie" = a movie worth watching.
Unexpected bonus: close your eyes when Alan Reed is delivering his lines and you'll be visualizing images of Fred Flintstone.
It is worth watching.
IDENTITY
5/5 Stars
2003---90 Minutes
Director James Mangold---Ford V Ferrari, 3:10 To Yuma, Walk The Line
Ray Liotta----Something Wild, Goodfellas, Cop Land
John Cusack-----Eight Men Out, The Grifters, Being John Malkovich, Con Air
Amanda Peet
John Hawkes----Scary Movie
Alfred Molina----Ladyhawke, Spider-Man 2
John C. McGinley----Platoon, Wall Street, Office Space
Pruitt Taylor Vince----Jacob's Ladder, Bird Box(a.k.a. "Bird Brain" by yours truly.
Rebecca De Mornay----Runaway Train
Director James Mangold---Ford V Ferrari, 3:10 To Yuma, Walk The Line
Ray Liotta----Something Wild, Goodfellas, Cop Land
John Cusack-----Eight Men Out, The Grifters, Being John Malkovich, Con Air
Amanda Peet
John Hawkes----Scary Movie
Alfred Molina----Ladyhawke, Spider-Man 2
John C. McGinley----Platoon, Wall Street, Office Space
Pruitt Taylor Vince----Jacob's Ladder, Bird Box(a.k.a. "Bird Brain" by yours truly.
Rebecca De Mornay----Runaway Train
It's been a long time since I've enjoyed a movie as much as Identity. This mystery thriller/ horror movie directed by ace Director John Mangold is a bona fide gem. It also marks the first color film to be reviewed on my site. Atypical of its genre Identity is bereft of graphic violence and relatively profanity free. The cast is top-notch. Leads Ray Liotta, John Cusack and Amanda Peet are all effective as are Alfred Molina John C. McGinley and, John Hawkes. Jake Busey makes an indelible impression in his scenes and adds that over the top lunacy that seems to be a family trait. Identity is fat free pedal to the metal for ninety minutes which is a bit long for a B movie as I've found the optimum running time is around 70 or 75 minutes. We learn just enough about the characters to move the story along without getting bogged down in typical cinematic templates used too often in today's movies. Identity has the feel of those independent low budget crime/noir films that I love.
Plot? Okay. The most casual film goer is taken into a surreal world. Disparate people are caught in a tremendous rain storm and a road is washed away. Travelers take shelter in a scary motel that brings to mind Psycho. But Psycho is not the only horror reference. Just as in Friday The 13th people get knocked off one by one as the mad killer moves from cabin to cabin. There are several other film references. Someone brings up And Then There Were None suggesting the killer is not an outsider stalking them but one of their own. An interesting theory is the murders are due to the supernatural because the motel was built on an Indian burial ground, much as the house in Poltergeist. The travelers have no clue what's happening and, except for the most extremely astute, neither does the audience until.... And then just as in the middle of Vertigo there is a revelatory scene that brings to an end the first part of the movie and takes us in another direction that is even more scarier and horrific.
As with any mystery clues are given to us in the film, and as in any well made film the clues are subtle and easily over-looked due to the frantic pace of the movie, the flow of the film and the better than average acting. When the reason behind the murders and the perpetrator(s) is/are revealed it all makes sense. Director Mangold does not cheat the audience. Everything is laid out before us and we can only mutter, "Of course, how could I have missed that?" This is as close as one can get to the feel of a low budget B movie a modern film can get.
I def. recommend this.
Plot? Okay. The most casual film goer is taken into a surreal world. Disparate people are caught in a tremendous rain storm and a road is washed away. Travelers take shelter in a scary motel that brings to mind Psycho. But Psycho is not the only horror reference. Just as in Friday The 13th people get knocked off one by one as the mad killer moves from cabin to cabin. There are several other film references. Someone brings up And Then There Were None suggesting the killer is not an outsider stalking them but one of their own. An interesting theory is the murders are due to the supernatural because the motel was built on an Indian burial ground, much as the house in Poltergeist. The travelers have no clue what's happening and, except for the most extremely astute, neither does the audience until.... And then just as in the middle of Vertigo there is a revelatory scene that brings to an end the first part of the movie and takes us in another direction that is even more scarier and horrific.
As with any mystery clues are given to us in the film, and as in any well made film the clues are subtle and easily over-looked due to the frantic pace of the movie, the flow of the film and the better than average acting. When the reason behind the murders and the perpetrator(s) is/are revealed it all makes sense. Director Mangold does not cheat the audience. Everything is laid out before us and we can only mutter, "Of course, how could I have missed that?" This is as close as one can get to the feel of a low budget B movie a modern film can get.
I def. recommend this.
THE SNIPER
3.5/5 Stars
1952--1hr 28 Minutes
D1r. Edward Dmytrk...Murder, My Sweet, Crossfire, Cornered
Arthur Franz....Sands of Iwo Jima, Invaders From Mars, The Caine Mutiny, Beyond A Reasonable Doubt
Adolph Menjou....Paths of Glory, The Tall Target
Marie Windsor...The Killing, Double Deal, Force of Evil, Swamp Women.
Richard Kiley...The Mob, Pickup On South Street, The Blackboard Jungle, The Phenix City Story
Gerald Mohr--Gilda, Lady of Burlesque, Invasion U.S.A. The Angry Red Planet
D1r. Edward Dmytrk...Murder, My Sweet, Crossfire, Cornered
Arthur Franz....Sands of Iwo Jima, Invaders From Mars, The Caine Mutiny, Beyond A Reasonable Doubt
Adolph Menjou....Paths of Glory, The Tall Target
Marie Windsor...The Killing, Double Deal, Force of Evil, Swamp Women.
Richard Kiley...The Mob, Pickup On South Street, The Blackboard Jungle, The Phenix City Story
Gerald Mohr--Gilda, Lady of Burlesque, Invasion U.S.A. The Angry Red Planet
Arthur Franz plays Edward Miller, a criminally insane misogynist with a history of violence against women in The Sniper. These episodes of violence began early in his youth that finally culminated in murder. There are two other B films that come to mind with a similar theme. They are: the very good Without Warning starring Adam Williams and While The City Sleeps with John Barrymore, Jr as the crazed psychopath. One way The Sniper differs from them is that Miller understands he is sick and desperately seeks help. As it is today, was then and always will be, there will be those who fall between the cracks of society's safety net. Edward Miller is one of them.
The film begins with Miller looking out from his apartment window at a couple across the street who are kissing. He picks up an Army issued M-1 carbine and has them in the cross-hairs of his scope. But he does not pull the trigger. He knows he needs help and wants to return to the psychiatric hospital from where he had recently been released. From a drug store's phone booth he calls the state hospital and is told his doctor is away on vacation. There is an urgency in his voice that should have set off alarm bells as he literally pleads to speak to someone. His urgent pleas get him nowhere. He returns to his apartment. The dresser drawer where he has placed his rifle is locked. He picks up the key but hesitates. Instead he looks at the hot plate and in an extreme call for help lets his hand linger on the hot stove for a few seconds.
The film begins with Miller looking out from his apartment window at a couple across the street who are kissing. He picks up an Army issued M-1 carbine and has them in the cross-hairs of his scope. But he does not pull the trigger. He knows he needs help and wants to return to the psychiatric hospital from where he had recently been released. From a drug store's phone booth he calls the state hospital and is told his doctor is away on vacation. There is an urgency in his voice that should have set off alarm bells as he literally pleads to speak to someone. His urgent pleas get him nowhere. He returns to his apartment. The dresser drawer where he has placed his rifle is locked. He picks up the key but hesitates. Instead he looks at the hot plate and in an extreme call for help lets his hand linger on the hot stove for a few seconds.
The hospital attendants know it was self-inflicted but before they could send him for mental evaluation an ambulance pulls up with victims of an auto accident and he is forgotten. And so begins a perfect storm of events that would lead to his first murder. We follow him where an assortment of females reject him or are cruel to him; his boss, a woman at a bar and even a young kid who chastises him for interfering in their ball game exacerbate his mental condition. He delivers a dress to songstress Marie Windsor. She is nice to him and he feels there may something between them until her boyfriend calls and she ushers Miller out the backdoor. This insult releases the anger and frustration that had been building and leads to his first murder. In a scene similar with the opening of the film he waits on a rooftop and when she leaves work sights her and this time pulls the trigger.
While nothing much is said about his past there is one scene that gives an indication. A Mother slaps and berates her child who is asking if she could him buy a toy. He is shaken and winces at the abuse. This may be an opening into understanding his anger but is secondary to society's failure to address and help people like Edward Miller.
While nothing much is said about his past there is one scene that gives an indication. A Mother slaps and berates her child who is asking if she could him buy a toy. He is shaken and winces at the abuse. This may be an opening into understanding his anger but is secondary to society's failure to address and help people like Edward Miller.
The crux of the movie's theme is laid out in the conversation between one of the medical workers and Miller. The attendant knows the burns have been done intentionally. He asks him:
"...were you ever in a mental hospital?"
"Only when I was in prison."
"Prison?"
"In the psychiatric ward. But they let me go."
"Why?"
"My sentence was up. Dr. Gillette wanted me to stay, but they let me go."
"What did you do?"
"I hit someone, a girl."
"How do you feel now?"
"Not right."
The Sniper was produced by Stanley Kramer, known for films that advocated for social change. In 1949 he produced The Home of The Brave directed by Mark Robson. This is an intense look at racism, brotherhood and PTSD in the military. This is the movie that should have made James Edwards a break-out star. He was however a victim of racism, not from an ignorant, racist soldier as was his character, but by Hollywood studio executives. Kramer also produced Marlon Brando's first film, The Men. The Men is a story of paraplegic Korean War veterans and their battle to return to normalcy. Kramer once again challenged our perspective on war is it focused on our nation's neglect in caring for the physically and mentally wounded.
The Sniper's director Edward Dmytrk also was at the helm for Crossfire and Murder, My Sweet. He was first blacklisted by Hollywood for his involvement in the CPUSA and again later by the same Hollywood for his road to Damascus moment and subsequent co-operation with the government. Beginning in the late 40s many noir/crime films used an 'expert' to fill in details that had usually been handled by common noir tropes as narrative/voice-over and flashbacks. This is the case in Crossfire with police captain Robert Young, The Dark Past with Lee J. Cobb as the police psychiatrist and Renzo Cesana in The Sound of Fury. The Sniper gives us Richard Kiley who as Dr. James Kent in a role that might be the first instance of a profiler in movies.
"...were you ever in a mental hospital?"
"Only when I was in prison."
"Prison?"
"In the psychiatric ward. But they let me go."
"Why?"
"My sentence was up. Dr. Gillette wanted me to stay, but they let me go."
"What did you do?"
"I hit someone, a girl."
"How do you feel now?"
"Not right."
The Sniper was produced by Stanley Kramer, known for films that advocated for social change. In 1949 he produced The Home of The Brave directed by Mark Robson. This is an intense look at racism, brotherhood and PTSD in the military. This is the movie that should have made James Edwards a break-out star. He was however a victim of racism, not from an ignorant, racist soldier as was his character, but by Hollywood studio executives. Kramer also produced Marlon Brando's first film, The Men. The Men is a story of paraplegic Korean War veterans and their battle to return to normalcy. Kramer once again challenged our perspective on war is it focused on our nation's neglect in caring for the physically and mentally wounded.
The Sniper's director Edward Dmytrk also was at the helm for Crossfire and Murder, My Sweet. He was first blacklisted by Hollywood for his involvement in the CPUSA and again later by the same Hollywood for his road to Damascus moment and subsequent co-operation with the government. Beginning in the late 40s many noir/crime films used an 'expert' to fill in details that had usually been handled by common noir tropes as narrative/voice-over and flashbacks. This is the case in Crossfire with police captain Robert Young, The Dark Past with Lee J. Cobb as the police psychiatrist and Renzo Cesana in The Sound of Fury. The Sniper gives us Richard Kiley who as Dr. James Kent in a role that might be the first instance of a profiler in movies.
The Sniper is an example of a movie that would have been too 'hot' for an A film, but was perfect for the B's. We have a killer who apparently indiscriminately kills women and yet A-list Director Edward Dmytryk gives us a different look at the killer. He is sick man who knows he needs help, is unable to suppress his desires and yet is let out into the public when he desires to be institutionalized.
Dmytryk does an excellent job of handling the message of the film juxtaposed alongside the visceral, get 'em in the seats thriller side. Kent makes his first appearance at a police lineup that resembles a comedy skit where current (1950s) police methods bring in four score and seven of the usual suspects. Kent quickly dismisses the entire procedure He dispassionately gives the detectives on the case a clinical look into Miller's mental and psychological make-up. He ticks off all the characteristics of a sexually repressed psychopath of which many still hold true today.
The veteran cops on the case, Adolph Menjou and Gerald Mohr take his advice and go back to the drawing bad. Miller's criminal and psychiatric records convince them that Miller is the most likely suspect. Kent will later lobby for changes in the treatment and incarceration of the mentally ill before a group of the city's leaders who care only that the killer is caught. That Kramer/Dmytryk are able to express their views without come across pedantic or preaching is due to Kiley's calm tone of voice and a controlled sense of urgency. Credit for this and the rest of the characters is in no small matter due to the plain spoken dialogue. The movie that is demonstrably restrained, especially in consideration of the subject matter, and that is due in some part to the straight-forward screenplay by Harry Brown. Brown wrote the novel and then the screenplay for the WW2 classic A Walk In The Sun. The film was a look at the every-day G.I; written about in Steven Ambrose's Citizen Soldiers. The film is more dialogue than action with quick scenes of battle followed by more dialogue. In comparison to other films at that time that were action packed and often propagandistic it seems relatively serene until one realizes that at the end of this walk in the sun one third of an infantry platoon is lost.
Dmytryk does an excellent job of handling the message of the film juxtaposed alongside the visceral, get 'em in the seats thriller side. Kent makes his first appearance at a police lineup that resembles a comedy skit where current (1950s) police methods bring in four score and seven of the usual suspects. Kent quickly dismisses the entire procedure He dispassionately gives the detectives on the case a clinical look into Miller's mental and psychological make-up. He ticks off all the characteristics of a sexually repressed psychopath of which many still hold true today.
The veteran cops on the case, Adolph Menjou and Gerald Mohr take his advice and go back to the drawing bad. Miller's criminal and psychiatric records convince them that Miller is the most likely suspect. Kent will later lobby for changes in the treatment and incarceration of the mentally ill before a group of the city's leaders who care only that the killer is caught. That Kramer/Dmytryk are able to express their views without come across pedantic or preaching is due to Kiley's calm tone of voice and a controlled sense of urgency. Credit for this and the rest of the characters is in no small matter due to the plain spoken dialogue. The movie that is demonstrably restrained, especially in consideration of the subject matter, and that is due in some part to the straight-forward screenplay by Harry Brown. Brown wrote the novel and then the screenplay for the WW2 classic A Walk In The Sun. The film was a look at the every-day G.I; written about in Steven Ambrose's Citizen Soldiers. The film is more dialogue than action with quick scenes of battle followed by more dialogue. In comparison to other films at that time that were action packed and often propagandistic it seems relatively serene until one realizes that at the end of this walk in the sun one third of an infantry platoon is lost.
In keeping within the budget constrictions Dymtryk makes good use of one of noir's key tropes and that is extensive use of location shots. Many of them were taken on rooftops and they give the audience a nice panoramic view of the city by the bay. There is a great scene where he kills a worker who is painting a water tower. He sees Miller picking out a target and calls out a warning to the people on that street. Miller dispatches him and looks conflicted then remorseful. Does it have to do with guilt of killing an innocent person or because the victim was a man and not a woman?
The police have Miller trapped in his apartment. A crowd gathers and the police have to keep them from interfering and out of harm's way. In a way it's reminiscent of the stand off in Dog Day Afternoon. The ending was not what I expected but fits in with the over-all narrative of the film. This is one of those films that succeeds on entertainment value for 'kids of all ages' and adds a social message without bludgeoning the audience. And kudos to Arthur Franz for an excellent performance.
The police have Miller trapped in his apartment. A crowd gathers and the police have to keep them from interfering and out of harm's way. In a way it's reminiscent of the stand off in Dog Day Afternoon. The ending was not what I expected but fits in with the over-all narrative of the film. This is one of those films that succeeds on entertainment value for 'kids of all ages' and adds a social message without bludgeoning the audience. And kudos to Arthur Franz for an excellent performance.
OPEN SECRET
3.5/5 Stars
1948- 68 Minutes Marathon Pictures
Director...John Reinhardt...Chicago Calling, For You I Die
John Ireland...Raw Deal, Red River, Railroaded, All The King's Men, A Walk In The Sun
Jane Randolph...Cat People, Abb. and Cos.Meet Fr'enstein, The Curse of The Cat People
Sheldon Leonard...It's A Wonderful Life, Decoy, To Have and Have Not
Roman Bohnen...For You I Die, The Best Years of Our Lives, Brute Force
George Tyne..A Walk In The Sun, Side Street, The Red Pony, Decision Before Dawn.
Director...John Reinhardt...Chicago Calling, For You I Die
John Ireland...Raw Deal, Red River, Railroaded, All The King's Men, A Walk In The Sun
Jane Randolph...Cat People, Abb. and Cos.Meet Fr'enstein, The Curse of The Cat People
Sheldon Leonard...It's A Wonderful Life, Decoy, To Have and Have Not
Roman Bohnen...For You I Die, The Best Years of Our Lives, Brute Force
George Tyne..A Walk In The Sun, Side Street, The Red Pony, Decision Before Dawn.
"Open Secret" is a gritty, blue-collar, down and dirty look at anti-Semitism. This film of small town bigotry differs from bigger budgeted as Crossfire and Gentlemen's Agreement. The visceral hatred of the bigots and the fear of its victims is palpable. Director John Reinhardt was a German émigré who might have been drawing on his observations in pre-War Germany in the years building up to the Holocaust. There are numerous news clips where "Juden" and a Star of David are painted on shopkeeper's store. Open Window has store fronts marked with a swastika and "Hitler Was Right." The bigots in this movie could easily have been part of Ernst Rohm's brown shirts.
The story begins with newly married John Ireland stopping at a buddy's apartment on their way cross country. His buddy greets them warmly, says he has some business but will be back. He never returns. While searching his house his wife (Jane Randolph) comes across some pro-Nazi and anti-Semitic hate propaganda. It seems his buddy was a member of the local hate group, but had a change of heart and was going to turn them in. Ireland goes on a search to find the killers of his buddy.
Open Secret contains many of the requirements for a low budget B movie. It has a good director, a very good cast, and a running time of only sixty-eight minutes. When it comes to these low budget B movies a lack of money is often a positive rather than a negative. The bar scenes are as close to a neighborhood bar of rowdies as one can get. There is a claustrophobic feel to the film enhanced by a lack of big time sets, and virtually no location shots. There are few, if any, scenes done in sunlight and no brightness in both the town and the people. Children slash tires and throw rocks at windows. The bigots are hemmed in by their own hatred, the few Jews by the ever present reality of violence.
The story begins with newly married John Ireland stopping at a buddy's apartment on their way cross country. His buddy greets them warmly, says he has some business but will be back. He never returns. While searching his house his wife (Jane Randolph) comes across some pro-Nazi and anti-Semitic hate propaganda. It seems his buddy was a member of the local hate group, but had a change of heart and was going to turn them in. Ireland goes on a search to find the killers of his buddy.
Open Secret contains many of the requirements for a low budget B movie. It has a good director, a very good cast, and a running time of only sixty-eight minutes. When it comes to these low budget B movies a lack of money is often a positive rather than a negative. The bar scenes are as close to a neighborhood bar of rowdies as one can get. There is a claustrophobic feel to the film enhanced by a lack of big time sets, and virtually no location shots. There are few, if any, scenes done in sunlight and no brightness in both the town and the people. Children slash tires and throw rocks at windows. The bigots are hemmed in by their own hatred, the few Jews by the ever present reality of violence.
John Ireland is great in this role. The film strays from wise-cracks or witty banter and that fits in well with Mr. Ireland's taciturn on screen persona. It is obvious he can take care of himself and there are scenes at the bar where that is evident. This role confirms my belief that he would have made a great Phillip Marlowe, and, dare I say it, the definitive Phillip Marlowe.
Sheldon Leonard is the cop. George Tyne is a Jewish store-owner who must face destruction to his store, physical harm and sees hate pass from one generation to another. Roman Bohnen is excellent in this film. He also appeared in Director Reinhardt's For You I Die but where in that movie he was a happy go lucky recovering alcoholic, here he plays a mean, bitter, drunk, who physically abuses his wife.
One of the standards in films of the 40s is the plethora of easily recognized familiar faces; Whit Bissell, Elisha Cook, Jr, and Ray Teal to name only three. That is not the case in Open Secret and that also is a positive. The relative anonymity of the mob in my opinion adds to the gritty realism of the the movie. They all appear to be serious men more than capable and willing to deliver mob justice at any time.
There's only so much that can be done in sixty-eight minutes. but just as he did in Chicago Calling Director Reinhardt delivers an excellent film. The darkness, the starkness, the lack of pretty faces and any type of comic relief makes this at times a tough movie to watch. I have to give kudos to the other actors in the mob and at the job.
There is no preaching here. The stories of the characters tell you all need to know about anti-Semitism in a small town where there is no place, for the oppressed to escape. I def. recommend this movie.
There don't appear to be any quality prints available which is a shame. The movie can be found on youtube and OK.RU
Sheldon Leonard is the cop. George Tyne is a Jewish store-owner who must face destruction to his store, physical harm and sees hate pass from one generation to another. Roman Bohnen is excellent in this film. He also appeared in Director Reinhardt's For You I Die but where in that movie he was a happy go lucky recovering alcoholic, here he plays a mean, bitter, drunk, who physically abuses his wife.
One of the standards in films of the 40s is the plethora of easily recognized familiar faces; Whit Bissell, Elisha Cook, Jr, and Ray Teal to name only three. That is not the case in Open Secret and that also is a positive. The relative anonymity of the mob in my opinion adds to the gritty realism of the the movie. They all appear to be serious men more than capable and willing to deliver mob justice at any time.
There's only so much that can be done in sixty-eight minutes. but just as he did in Chicago Calling Director Reinhardt delivers an excellent film. The darkness, the starkness, the lack of pretty faces and any type of comic relief makes this at times a tough movie to watch. I have to give kudos to the other actors in the mob and at the job.
There is no preaching here. The stories of the characters tell you all need to know about anti-Semitism in a small town where there is no place, for the oppressed to escape. I def. recommend this movie.
There don't appear to be any quality prints available which is a shame. The movie can be found on youtube and OK.RU