This
film marks Dick Powell’s directorial debut, and he should have felt good about the final project. Roy Webb's powerful opening score adds
a real sense of danger. Accompanied by a custom title font
symbolizing electric voltage, it sets the movie up as, literally, an
explosive tale of prisoners and hostages about five to ten miles away from a Nevada atomic test
site. Interspersed with stock footage of an actual test, it is the film's unique element. Beyond this, it is another RKO crime thriller. The film does not get any more
“B” than this, with actors Stephen McNally, Jan Sterling, Alexis
Smith, Robert Paige, Richard Egan and Keith Andes, all trying to stay
alive in Arthur Hunnicutt's neighborhood. The atomic test site premise was done with a modicum of laughs a year later in The Atomic Kid starring Mickey Rooney. Sterling handles Dick Powell's trademark glib humor for this tale.
McNally
is typecast again as a ruthless criminal and recent prison escapee, with a heart as small as an atom. His two cohorts, a badly wounded
Paul Kelly and Frank de Kova, as “Dummy,” are along for the ride
of their lives. During their gas station stop, Smith and her affair,
Paige, are taken hostage by McNally. At the same time,
Andes is on his way to interview McNally for his paper, picking up Sterling along
the way. One may wonder why the interview. Send the state
troopers to “interview” him! Fortuitous script timing as Smith's car runs out of gas, with Andes stopping to help. McNally hijacks Andes'
station wagon. At this point, the entire cast, minus Hunnicutt, is in
this vehicle with barely enough room for dialogue. All are positioned
like a seasonal office portrait so that everyone can be seen. They arrive at an abandoned resort near the epicenter of the atomic test
site. For the obvious reason, it is now a ghost town. But in McNally's
mind, it is the perfect hiding place.
Hunnicutt
plays his usual rural character, this time as a prospector, an
old-timer who remembers seminal moments from 1901. Hunnicutt’s real
age and suspension of disbelief collide. After the cast has settled
into a dusty building, he stumbles onto the entourage. All the
characters are now intertwined into talkative, character-developing
scenes. Knowing he is irresistible, McNally makes a pass at both
women. First, Sterling appears to have rented a Shelly Winters
wig for her role—a wound-tight platinum wig about to break a
spring. Contrast this with her dark eyebrows, which symbolize her
lifelong pent-up anger. It is a harsh look. The
street-smart Sterling seems to have her head screwed on right,
however. A more trustworthy person than the self-centered socialite
and cowardly Smith, who begs McNally to take her with him, caring
little for anyone else, even though Paige is standing right beside
her. Paige is disgusted with the whole thing (outside of his affair with
Smith). He is always loudly threatening McNally, who warns him several times to shut up. Paige
ends up on the pointy end of two bullets.
McNally’s
best bud is Kelly, who has a normal-sized heart, though barely beating. McNally
found out that Smith’s husband is a doctor, Richard Egan, once
again cast as one half of a shaky relationship. McNally calls him
from a phone booth in a nearby town and threatens to shoot Smith's
head off if he does not come and save Kelly. After a lengthy pause...he decides to come. The operating scenes and the attempt to overpower McNally are
tense and handled well by Powell.
Perhaps
for their own amusement, those in command move the atomic test up one
hour with actor Clark Howat, calling the excruciatingly slow
countdown. McNally makes a split-second decision. Smith throws
herself into the car with Kelly sandwiched in between. In their
escape, they go the wrong way, heading straight toward the detonating
tower. Smith lets out a blood-curdling scream and Kelly loses his
hearing. The bouncing miniature car backing up is pretty humorous.
Naturally, their car gets stuck in the sand. Hunnicutt
and the three remaining cast members find protection from the fallout in an
abandoned mine.
Note:
RKO had planned to team Victor Mature and Jane Russell as leads, coming off their roles in The Las Vegas Story one year earlier. The pairing might have brought in a few more moviegoers initially. McNally makes a much more disgusting human than Mature could have ever projected. Assuming Russell was cast in Sterling's role, that might have worked. Along with Egan, McNally and Mature would co-star two years later in a more diverse crime story, Violent Saturday. Also set in desert climes, it has its own unique angle: an Amish family that has settled in arid Arizona.
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