United
Artists distributed this Gramercy Pictures (II) production. Not a
great film on the whole, but the script elicits a fast pace. Judging by
the dynamic, dangerous opening score by Hershel Burke Gilbert, one could get the idea that one is about to watch a hardened crime story. But
it is as lighthearted as it is gritty. And it is not gritty. Sterling
Hayden is not in the cast. It portrays a busy day in the life of the
police department with enough characters and sub-plots to suit a
typical episodic television drama show, some fifty years later. Five years later, Jack Hawkins played Gideon of Scotland Yard in a similar premise.
The principal characters revealed in the film are related to one another in some way. The film lays all this out to resolve the main plot of the film, the murder of a police officer. Playing the police captain is Hollywood stalwart Edward G. Robinson. It is a joy to watch him juggle the script's characters in and out of his precinct. The captain has experience on his side. Calm and compassionate, he can be tough if necessary, breaking with police protocol to ensure justice is served. He deftly prioritizes the cases that arise and handles each with appropriate timing. Some encounters are rather humorous, especially the scenes with Percy Helton (see note below).
Known
for his befuddled, confounded characters, Porter Hall (above) is simply
exasperating here as a “respected” community businessman with no
spine. His credentials usually can mask his illicit female
encounters. He is not funny, but his predicament is. He witnessed the
murder of the police officer. His attorney, Barry Kelly, assures him
of an early release from custody. Both get a few slick runarounds by
Robinson with Kelly at his wits' end. Robinson is not letting Hall go
until he gets the truth.
Jay Adler is perfect as the quintessential, nervous weasel with a season pass to the vice squad's interrogation room. Adler has relevant information, but his memory is foggy due to fear for his own life. Robinson lets him sweat it out until his “fog” clears. With great reluctance, he lets it slip about an upcoming bank robbery. Gilbert's pounding score is effective as the robbery is set to take place. Officers are positioned throughout the bank thanks to the Adler tip. This scene is fairly tense and exciting, leading up to the attempted robbery.
Christine White portrays a daughter concerned that her elderly, gullible mother is being taken by a two-timer who calls himself a Count. Robinson explains that falling in love is no crime, but will look into the matter. The Captain is concerned enough to have the charming Count brought in for questioning. Robinson relies on a psychologist to assess whether is is telling the truth. While the doctor is of Italian heritage, the Count's fake dialect puts him far from Italy. Indeed, he is an American citizen, more than likely from a midwestern state. It is a delightfully slick procedure.
Paulette
Goddard gets second billing here. I got the feeling she relished the
part. The police captain and Goddard's character have a long mutual
understanding. She runs a lady's "escort bureau” and has provided Robinson with valuable information. Robinson gets the lead he needs to track
down the laid-back lady's man, Adam Williams, the young buck in the gang with a thing for one of
Goddard's ladies, and who skips out before the robbery. This cool, quiet guy suddenly becomes a blue ribbon
champion at a state fair's “Angry Yelling” contest once
apprehended and questioned about who may have committed the
policeman's murder. Perhaps he was bipolar all along.
A clichéd bank hostage gives Ed Binns a safer exit from the bank than his partners. There is wasted footage of him peering out his hideout window with a camera cut to the female hostage, each staring back at the other. No dialogue. The only suspense is when she comes up with a plan to escape, and thanks to a good bit of script timing, he leaves the warehouse silently horizontal after Robinson shows up.
Note: Percy Helton turns in a brief, memorably humorous performance as one who is followed by shadows. Television pictures all over him. Especially on Wednesdays. Because of more pressing issues, Robinson keeps Helton patiently waiting. He is aware of Helton's condition and compassionately states he simply needs a “witness” to legally have the police look into the matter. Helton sincerely has no clue how to find one. Robinson suggests someone, a local doctor of psychology. Helton is highly encouraged.
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