This
is the first and arguably the most well-known of the three films
teaming director, Phil Karlson, with John Payne as his career-changer. This film-noir has
captivating segments, though one may need to overlook an idealistic screenplay by George Bruce and Harry Essex. With
commendable casting choices, great camera work, and an enhancing
score, ninety-nine minutes never seemed so short. It was produced by
Edward Small with distribution by United Artists and it paved the way
for a few "confidential" films in the Fifties. Despite some uniqueness, nearly seventy years have
given it some humorous and less-than-believable scenes. Worthy of a more in-depth review than I typically provide.
Robbery
mastermind, Preston Foster, with an unimaginative character name of
Tim Foster, checks the timing of a floral delivery truck driven by
Payne and the all-important armored bank van from his third-story
office across the street. Foster puts a lot of stock in the
preposterous idea that both vehicles will always arrive at
precisely the same time. He checks off the time
on a desk-sized stakeout map as confirmation. The large map brings
to mind a scaled architectural blueprint yet this map is a simple outline drawing of the
section of the street directly in front of the bank. A hand-drawn note on
a paper napkin would have sufficed. It would suggest an exciting
robbery to come by way of a rudimentary robbery so often used. But the clever setup and robbery are showcased right up front. Uniquely, the bulk of the film concerns the aftermath.
Idealistically, Foster (as Foster) has thought of everything, even supplying a matching floral delivery truck that will contain the
aforementioned criminals. It seems unfair that the artist who painted the floral company's logo on the side of the truck will get no cut of the loot. As it speeds away, awkwardly amusing is a
bank guard, who, without really aiming, fires several times at the
van in a crouched position with his gun at knee level. His
firing range instructor has repeatedly scolded him about his ineffective stance. Slickly, the van is driven inside a big rig trailer parked at
a prearranged loading dock. Once again, director Karlson has Payne, a reformed ex-con, a victim of mistaken identity as his truck is spotted. Without a single shred of evidence, he is assumed to be part of the robbery. One sadistic detective tries to beat Payne into submission. He hates him on pure assumption before gathering any facts. So very 21st century. Foster’s clever plan dictates that
everyone keep their masks on to hide their identity from each other.
One of the film’s interesting devices. He provides airline tickets for the trio's Mexico
rendezvous. After each is separately let go in the middle of nowhere,
they are instructed to stay south of the border until the heat is
off. Probably about two years!
Since the
robbery, Foster (as Foster) has been enjoying his
retirement as a pipe-smoking fisher of errant men. A longtime friend
and insurance investigator, Howard Negley, shows up by invitation. We learn Foster is a veteran cop, finally explaining his background
knowledge of his accomplices. He informs Negley that new “evidence”
will help him crack the two-year-old bank robbery with the credit—Foster's double-cross of his three stooges—going
on his resumé. It is the first mention of his
daughter, Gray, who has been waiting for her cue to enter the film while
studying her script and bar exam. Despite her short screen time, being the
singular female lead, and her notable work in earlier films, it
probably accounts for her star billing—whether negotiated or paid
for. She grows fond of Payne during the same southern flight. Purely
scripted coincidence. She eventually mentions his “undercover”
name to dear old Dad. His eyes suddenly get suspicious knowing full
well she could not have been charmed by “Fisheye Elam.”
Payne
is pummeled by the pugilistic team of Cleef and Brand, the latter
having met Elam before. There is another usage of the
specific violent and painful act as Cleef’s left and right
hands bang hard against Payne’s ears. Cleef repeatedly refers
sarcastically to Payne at this point as, “pal-zee,” after being
hoodwinked by Payne earlier. As luck would have it, Gray shows up
during a pummeling pause, and the two thugs, sweating profusely,
cordially leave. Gray assumes a serious “conversation” was taking
place. She and Payne have little to say to each other. At this point,
every male identity starts to unravel with three burials to be
scheduled. Gray is relieved to learn the truth about Payne as Negley
sets the record straight. Confidentially, of course.
Note:
Elam wants to buy some cigarettes at the airport. I always thought it
strange that many of those height-challenged machines had a large
mirror, usually round, on the front. Apparently for men to check
their fly.
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