TRAPPED (1949)

This seventy-eight-minute film arose from a story written by George Zuckerman and Earl Felton. It was directed by a master of realism, Richard Fleischer, and released by Eagle-Lion Films, the poster child of the semi-documentary. The moody cinematography was by Guy Roe who would, a year later, film Lloyd Bridges in, The Sound of Fury, then later the quintessential B-movie crime noir, Armored Car Robbery. Trapped was produced by the oldest of the "Seven Little Foys," Bryan. Like many low-budget crime films of the era, it uses voice-over narration to inform the audience about the thoroughness of law enforcement. In this case, the United States Treasury Department, in shutting down a counterfeit ring. The score was by the dependable, Sol Kaplan, whose opening measures sound like a cross between a weekly television private investigator theme and an old movie serial.

Though there may be familiar faces throughout the film, many of whom became prolific on the small screen, it really centers around the characters of Lloyd Bridges, Barbara Payton, and John Hoyt. As an up-and-coming leading man with a casting agent earning his salary, Bridges gets top billing. Not classically handsome, his closely set eyes are overcome by a distinctive voice, a winning smile and loads of charisma. The established character actor, Hoyt, has nearly identical screen time, however, and is third-billed. It is a nifty crime tale of treasury agents wanting to enlist the help of a counterfeit operative, Bridges, who is currently a model inmate in an Atlanta prison. With seven more years on his sentence, he could be released much earlier if he cooperates to help find the counterfeit plates and who is circulating the phony bills. The gum-chewing, arrogant Bridges essentially tells them what they can do with their offer. 

The screenplay pulls off a couple of clever double twists near the beginning. Nighttime finds Bridges on a bus headed for Kansas City, handcuffed to a Deputy Marshall. A car pulls up alongside the bus in the passing lane, the driver looking for Bridges. They make eye contact and Bridges grabs the revolver of the dozing detective and commands he “take the jewelry off” and exits the bus for the sedan, driven by Richard Karnes. The whole “escape” was planned in advance with Bridges, giving legitimacy to a phony AP wire story. The officer’s gun was not loaded and Karnes is a federal agent. During an overnight stay in a motel, at the opportune moment, Bridges sucker punches Karnes. Apparently suspecting as much, Karnes “throws the boxing match” so Bridges can be tracked to Los Angeles.

We first see Hoyt as a frequent Los Angeles nightclub visitor, trying to pour on the charm to the cigarette girl, Payton, Bridges’ girl. She assumes he must own two or three oil wells because of his generous ten-dollar tips. Hoyt is actually an experienced undercover Secret Service agent posing as a racketeer. Bridges vouches for Hoyt and enlists him to help “convert” a real twenty-five grand into a quarter million in fake bills.

Hoyt reports to his superior, Russ Conway. In Conway’s first scene we see him taking notes over the phone, handwriting gibberish on a notepad. Surely one of the worst executions of fake handwriting. Like the undecipherable notes taken in a college class while suspended over a cliff of sleep. Then a few days later puzzled as to why the exam score was so below average. I digress. Admittedly play-acting, this is rarely filmed authentically. In another Conway moment, an oft-used scene showcases the clever and effective undercover work during the phone booth era. In order to touch base on the agency's progress, Conway is seated in a diner as Hoyt strolls in. Conway steps to a booth and places a call to the adjoining booth to get Hoyt’s report. A local call.

The counterfeit exchange is set with “the big guy,” James Todd, who owns the counterfeit plates. Todd is no Ted de Corsia. He is too easy-going, naive and skittish to be believed as the ruthless boss of operations. Rather humorous that undercover agents are placed in several locations within running distance of the exchange location. I assume the homeowners were notified that a guy would be cleaning their screens, mowing their lawn or hand-lettering words on a grocery store’s front window. Turns out to be Todd’s test run because he was not sure he could trust Hoyt. The fake quarter million is nothing more than authentic cut paper.

To raise the level of excitement, later an old Army buddy recognizes Hoyt in the nightclub and addresses him by his real name. Finally picking up on Hoyt’s persistent denial and knowing his government position, he apologizes and Hoyt thinks he survived a close call. Except Payton overheard the conversation. She and Bridges then find the microphone in her apartment. Livid Bridges wants the real twenty-five grand as payback for being double-crossed. Hoyt gets the money from the bank but on route to the spurious hotel meeting with Todd, Bridges tells him, at gunpoint, to keep driving. They turn off the highway onto an ocean-side cliff. Both cautiously exit the car then Hoyt kicks the gun from Bridges’ hand and their stunt doubles take over. Bridges’ loses the fight, gets booked, and is jailed. Oddly, it is the last time we see the leading man yet twenty minutes of film remain. All we know for sure is, that no early release is indicated on the warden’s Mobil Oil calendar.

The ending is fairly exciting as Hoyt decided to complete the exchange anyway based on bogus information provided to “Todd the Naive.” Hoyt is compromised again by Payton’s unexpected appearance at the gang’s warehouse. Less exciting is the commonplace chase of multiple agents pursuing Todd between streetcars in a maintenance garage. It is the typical scenario with bullets bouncing off a lot of metal. Todd climbs to the roof of one streetcar but uses its overhead electrified cable to balance himself. The good news, he will not serve any jail time. “What's that smell?”

Note: The only humorous dialogue could get overlooked because of its subtlety. When Bridges is booked at another precinct, Hoyt tells the policeman to keep it secret and book him with a different name. The officer suggests, “How about Briggs? It’s my mother-in-law’s name. I just want to see what it looks like on a police blotter.”