THE PACE THAT THRILLS (1952)

You can thank the producer, Lewis J. Rachmil, for helping make this RKO Pictures release just sixty-three minutes long. Howard Hughes' tread marks are evident in this film with opening dramatic action shots of motorcycle racing appearing to have been filmed a decade earlier. No music score beneath the credits, just the roar of racing. If you are not a historic motorcycle fan the film will seem long. Plaudits go to good rear camera work right in the thick of the racing sequences. Of course, sandwiched in between are the familiar fuzzy studio projected backgrounds of actors "pseudo-racing." A predictable script with supporting actors more C-movie than B-movie, it becomes simply a time-filler, as it was for me. Despite these things, the entertainment value is pretty high.

With a similar visual opening, do not confuse this film with the motorcycle gang film, The Wild One. The dweebs in this movie certainly could use some road manners, but their Clover Leaf "Sickle" Cub (as one character pronounces it) becomes a gang only to play cycle soccer, have a cola or ride together weaving between oncoming traffic. Or feel the thrill of your best girl hanging on for dear life when they "pack double," as those crazy cavorting young adults used to say. But it is not, as the poster suggests, murder on wheels. Death on wheels? Sure.

The movie centers around the misunderstood era of motorcycles and winning any way you can. Bill Williams' style of racing has taken a cue from the roller derby circuit as he, quite literally, kicks challengers out of a race to win. When your company does not have the fastest bike, cheating levels the field. Encouraging “Long Leg Williams” is his boss and cycle builder, Robert Armstrong. He feels bad that Williams has to play dirty but he can live with that. The chief engineer and childhood friend of Williams, Michael St. Angel, (RKO changing his name to Steve Flagg) is building a new cycle with fluid drive, as per Chrysler transmissions of the day, I assume. He thinks Williams is the best rider in the city limits. If Williams rides it, they are sure to win. Possibly without cheating. But one never knows. 

Enter female newspaper reporter, Carla Balenda, who is sent to do a hard-hitting story about what these nuts do on weekends. When she witnesses William's lack of riding etiquette in the ring of dirt, her story berates Williams to the point of tears. Well, unlikely. She gets a new perspective on cycling, though, when she and Flagg take to the road with other club members. There is a lot of filming as actors recite dialogue in the movie’s middle. Enough said. Flagg’s new “sickle” still has flaws to work out but no dough to do it. Williams racks up funds by racing and stunt riding on the Daredevil circuit, county fairs, and Girl Scout cookie fundraisers. Flagg again pilots the new bike in a major race while graciously, carefully, Williams takes himself out on the final lap in a controlled crash, giving Flagg and the new cycle the win. But that is all he wins. Williams gets the girl.

NOTE: Williams is half of the acting glue that barely holds this film together. Robert Armstrong is the other half. Frank McHugh is on hand to do his trademark high, lilting laugh. Balenda holds her own but that cannot be said of the handsome Flagg. His lines are delivered like a polished amateur. The name change did not help. A red flag that his career was not going to be remembered.