JOHNNY DARK (1954)

This Universal Picture's release is a fast-paced film about a talented, young and ambitious automobile engineer, Tony Curtis with a private investigator's name, working for an independent manufacturer.  Curtis An outstanding poster illustration tells all you need to know about this movie. The eighty-five-minute film was directed by George Sherman and produced by William Alland. The actors have nothing to apologize for but it was soon shelved in the minds of moviegoers in light of Curtis' rising career. Yet this film is far more fun to watch than a similar racing-themed release the following year, The Racers, a soap opera with cars starring Kirk Douglas.

Of course, there is a love interest. Petite Piper Laurie, also on a career upswing, plays an up-and-coming automotive designer, making it the only real ground-breaking aspect of the film. Don Taylor plays Curtis' best friend, fellow driver, and competitor of Laurie's affection. Taylor wreaks the race car prototype and Curtis thinks he was showing off. Curtis has to eat crow when it is discovered there was an engineering malfunction in the brakes which Curtis had been warned about. But the two competitor's relationship is never the same. Much of the first reel includes the mundane happenings of engine testing with no dialogue. The stodgy automotive founder, Sidney Blackmer, wants no part of any sports car in his lineup, demanding the company stick with cars that seat six, the standard American family. But his long-time engineer, Paul Kelly, believes in Curtis' idea, which sets up an inconsequential rift between them. Blackmer softens his stance, finding a place for a sporty model in the company’s roster, after Curtis places in the top three of a long-distance rally race. 

In hindsight, perhaps the most interesting aspect today is the vintage racing sequences in period sports cars captured by cinematographer Carl Guthrie. Of note is Curtis's vehicle of choice (and the film's promotional car) is the Woodill Wildfire (above), an American-made sports car to compete alongside the Europeans. A climactic Canada to California rally race is nicely filmed from the air amid spectacular scenery. A mounted camera on the front of a filming car, weaving fast through mountain roads, is a dizzying experience. Beyond that, it is standard fare for the period with Curtis and Taylor “speeding” in their studio prop cars ahead of projected back screen competition. I imagine this was a must-see for teen fans of Curtis and Laurie with many licensed drivers leaving the theater wanting to get their hands on a Jaguar XK120.

Note: Don Taylor had a versatile career in acting but most have forgotten him due to his supporting roles. He gained more fame as a director for some of the most popular television series of the Sixties. His skills led him to direct several major films from the Seventies to the Eighties. His second marriage in 1964 was to English actress, Hazel Court, of British horror film fame. They remained together until his death did them part.

FRONTIER RANGERS (1959)

If this smells to you like an early television series, your sensory perception is above average. Not much to add here. Directed by Jacques Tourneur with a screenplay by Gerald Adams, it was compiled from three edited episodes of the series “Northwest Passage” distributed by MGM, not Disney. These compilations make the “movie” highly episodic finding yourself off-subject at least three times. Much of Raoul Kraushaar's background music is hacked together with some unusual results. A child-like opening theme song sets the stage for kids in boomer land. As a television series, however, I can imagine a twelve-year-old looking forward to the next week's episode. Assuming your parents approved. Yet some of the action can be a bloody affair as Indians succumb to a well-placed hatchet in the chest or head. A definitive effect that is well done...or well-placed. The television series was broadcast in black and white but the film was shown in Metrocolor. For this and perhaps other reasons, MGM elected to place a "Not Suitable for Children" warning on some posters. Then again, this may have been added simply to increase ticket sales.

Mostly shot under studio lights on a sound stage, it is made more obvious by studio-enhanced vocals and obvious stuntmen stepping in for Keith Larson (handsome hero hatchet king) or sidekick Buddy Ebsen (above) for some levity. Don Burnett comes in a distant third to comprise the trio. On the positive side, the actors do their best to sell the story. There are some distant outdoor scenes, more than likely reused from a feature film, making it all look rather authentic.

CRIME WAVE (1954)

This taut film is a good one of the era. Plenty of Los Angeles location filming help carry off the believability factor with all the Ford Motor Company offerings one can handle. A world-weary, disgruntled, and toothpick-chewing Sterling Hayden plays a detective without much compassion. He had just played a policeman in the action-thriller, Suddenly, in which any tender piece of dialogue with his love interest is delivered with the sensitivity of a television defense attorney. Hayden's studio prop “driving” is hilarious. Staring out the windshield unconsciously, mesmerized by traffic as the car and steering column rocks back and forth in repetition. The GIF below works great with the steady beat of a jazz fusion tune.

Once again Ted De Corsia plays a mobster. After release from prison his latest robbery scheme pressures former cellmate, Gene Nelson, to join in. Now going legit, Nelson wants no part of it. But after his wife’s life is held accountable he plays along for her safety. And with clever end results. Phyllis Kirk plays the wife, here reunited with her co-star from, House of Wax, though by now renamed Charles Bronson. Though a small part, Bronson is solid in another of his early performances. Timothy Carey’s uncredited role as “Johnny” is about as creepy as it gets. His cult status character has significant mental and emotional problems. He almost seems out of place in the film since we have no connection to him before he just shows up in the last third of the film. And he is unforgettable. In the end, there is a beating heart inside Hayden and understands Nelson’s motive for eluding the authorities.

Note: The production values and strong cast propel this film up several rungs of the B-movie ladder. Directed by Andre DeToth and produced by Bryan Foy, the eldest of the "Seven Little Foys," this seventy-three-minute film was inspired by the "The Saturday Evening Post" story, "Criminal Mark," by John and Ward Hawkins. It was distributed by Warner Brothers. Hats off to Bert Glennon for his great cinematography.

THEY WON'T BELIEVE ME (1947)

This RKO Radio Pictures' release is too long but the first-rate cast helps the moviegoer survive the ninety-five minutes. Most audiences today may find the movie hard to believe as well. The film was directed by the notable, Irving Pichel, with John Latimer doing the rickety screenplay. Long-time Alfred Hitchcock associate, Joan Harrison, produced the film. The British writer would later produce the television series, "Alfred Hitchcock Presents."

Robert Young is good as a spineless, philandering scoundrel, equally tender and pathetic. Young’s wife is not as attractive as the other female costars. He realizes this rather quickly. He and Jane Greer have plans but Young cannot leave his wife’s money. They go their separate ways. Enter Susan Hayward, his second fling, who has a manipulative mind of her own. After sending his wife divorce papers, Young plans to run away with Hayward, but their late-night automobile accident kills her beyond identification. Apparently, they could not find her teeth. Everyone assumes the auto victim was his wife and Young has the bright idea to play along. This could actually work out. He could kill his wife and no one will know the difference. But unknown to Young, during the same period, his wife falls to her death at her favorite spot near their vacation ranch. After discovering his wife’s body, he stupidly dumps her in the nearby pond. No one will ever find her floating on the surface. Just believe me, the ending may elicit more than a few groans.

The movie is told through flashbacks as Young testifies under oath he did not kill his wife. True. But his story seems so convoluted and unbelievable, even he finds it all hard to believe and is convinced the jury will convict him. As the verdict starts to be read there is a close-up of a screaming courtroom witness. The camera fixes on Young who is about to roll (not jump) out the window to certain death. The courtroom police officer pulls his gun and kills him. Nobody is going to commit suicide on his watch! With no brief shot of Young dashing out of his chair, immediately followed by the screaming lady, it is unfortunate editing. Suspended disbelief on full display. By then, every moviegoer knows the ironic verdict.

Note: Many give this film high marks. It would rate higher with me if it were not for the aforementioned implausibilities and its length. A well-acted drama nonetheless and worth a viewing. Or a laugh. This film did not work in its era, either. It was a box office disappointment and I believe Robert Young was not that surprised, considering his one-time-only nasty role.