CRASHOUT (1955)

This eighty-nine-minute film—about ten minutes too long—is an unnecessary offering about a commonplace Hollywood theme, a clichéd prison break. Perhaps six convicts are too many characters involved to be a legit noir. Three is manageable and the film mostly centers around the three main leads. Regardless of the number, convicts rarely escape successfully in a standard formula like this. I might have enjoyed this more if the cast were mostly unknown actors. These six are well-known respected actors, all of whom had their turn as crooks or murderers with their membership in the “Criminal Actors Union.” Their polished performances seem a waste for such a routine B-movie. The film has a couple of gritty moments but even those are tame when compared to some scenes from Armored Car Robbery, done five years earlier.

The film was directed by Lewis Foster who also helped pen the screenplay with his writing partner, Hal Chester. It was produced by Chester for Standard Productions. I think any blame falls directly on these two. The dialogue is not scintillating or original. One example is when the tough leader commands diner patrons, “Everybody stay where you are and keep quiet.” An anonymous jazz score with blaring trumpets is by Leith Stevens.

William Bendix plays the self-centered, heartless leader at odds with life. If the others want their share of the loot he has hidden in the mountains, everyone will do it his way. Though a versatile actor, with his gnome-like stature, tiny mouth, and definitive nose, he seems better suited for a film’s levity. Nevertheless, the film gravitates around his capable performance as one unhappy individual. The balance of the cast follows his lead. William Talman may have been expected as the ruthless leader—speaking of Armored Car Robbery. Close. He is a mentally unbalanced reverend. A convict with knife-throwing expertise and the ability to use a Mercury as a lethal weapon. The third main character is Arthur Kennedy. Unlike the other two, he was sent to prison for non-lethal embezzlement. He is an astute judge of character and his least favorite person is Bendix. Rounding out the cast is Marshall Thompson, the youngest convict with redeemable qualities. Gene Evans, with several loathsome character roles under his belt, is always hungry and Luther Adler is a scoundrel, moocher, and deviant. The gang takes over a roadside diner, hides when motorcycle cops arrive by swapping clothes with the male patrons, steals a car, abandons the car, and argues a lot.

The convicts invade Beverly Michaels' country home. Kennedy, being that good judge of character, provides her protection from the remaining miscreants. Coupled with Michaels is Adam Williams' singular performance. He nearly steals the film as a naive young man—a friend of the family. One could imagine his late appearance in the film to be accompanied by canned laughter. Polite to a fault, he is an all-around nice guy arriving to help Michaels in any way he can—perhaps with chores or save her from preparing dinner. He is not leaving anytime soon. He would like to say hello to her mother. Unavailable. In an attempt to have him move on, Michaels tells him Kennedy is her visiting cousin. He immediately spots the family resemblance. He offers him chewing gum, even suggesting all three take in a picture show. Not able to take a hint, the hidden convicts have had enough of his persistence and come downstairs to make things perfectly clear. It begins to sink in. Kennedy wraps up the film during a highly fake snowstorm, walking past the camera for an interpretative ending.

Note: I will never understand how gullible Hollywood thinks the average moviegoer must be when someone just stands in one place like a possum caught in headlights while a vehicle accelerates toward them. Most times it can be improved with better film editing. In this case, not having the victim turn too soon and stare at the approaching car. I would think the instinctive thing to do, especially as a trained police officer with good hearing and common sense, is to jump out of the way. No amount of suspended disbelief could help this scene.