LOOPHOLE (1954)

Distributed by Allied Artists Pictures, this eighty-minute film was produced by Lindsley Parsons and directed by Harold Schuster. The movie is a forgotten good one though the premise by Warren Douglas offers few surprises. Paul Dunlap stepped away from his many westerns to score this movie. The second-tier studio production falls into the noir slot because an ordinary guy attempts to get himself out of a loophole. Once again, the poster is misleading—one could say dishonest—which suggests Barry Sullivan is the film's criminal.

Honestly, you just want McGraw hit by an iron Buick while jay-walking. 

The kind with the big toothy chrome grille.

Nearly six minutes of voice-over sets up the opening premise and reminds the viewer this is an ordinary Friday and the incident that unfolds could happen to you. Assuming you are a bank teller. Sullivan heads up a competent cast with Dorothy Malone, looking quite vibrant and balanced in her natural hair color, Charles McGraw and Don Haggerty. In another of his apprehensive, swindler roles, Don Beddoe is responsible for said loophole as the phony, second bank examiner, stealing fifty grand while his accomplice, Mary Beth Hughes, distracts Sullivan at his teller window. Sullivan makes a judgment error by not reporting the major shortfall until after the weekend. The bank’s bonding agent sends in their investigator, former police detective “McGruff McGraw” who assumes everyone is a liar. A guy who hates life in general. He will not consider Sullivan might be on the level. He tails him everywhere hoping for a slip-up. Pretty excruciating to sit through his obstinate character.

Everyone at the Hollywood precinct has Sullivan guilty until proven innocent. And this was the mid-Twentieth century. Many things never change. They question Sullivan’s wife, Malone, in the hopes she will reveal any tidbit with which they can “hang” her husband. Their barrage of questions is designed to humiliate them—albeit in a private office and not leaked to the press. It is soon confirmed there is never a second bank examiner during the annual review. A lie detector test provides a ray of hope and Haggerty believes Sullivan. McGraw growls. He thinks the machine is faulty. A waste of time. Sullivan obviously had an accomplice, probably a girl. The suspect is sent home then fired the next day at work. McGraw spreads lies about Sullivan’s “embezzlement” to his new bosses in an effort to keep him from being hired. Their house has to be put on the market.

Really, you just want McGraw hit by a bus. 

Perhaps a smaller city transit bus.

At about the forty-five-minute mark, things start to rev up for Sullivan, now a taxi driver. His next fare is an irate Hughes with sugar daddy Beddoe. How this age-disparate couple ever got together might be worth a sub-plot. While taking a call from dispatch outside the cab, they recognize Sullivan's photo ID and hightail it. Sullivan suddenly recalls his fare’s voice. It is the first of too many contrived close calls.

At a different bank, Malone approaches the teller window and on the other side is none other than Beddoe. Returning to the car, she fails to grab her purse which Sullivan volunteers to retrieve. He and Beddoe lock eyes. Dunlap’s score cranks up the excitement. Beddoe is forced to his apartment and follow through with Sullivan's “deal.” The moviegoer not clear what point Sullivan's trying to make. What is clear, Hughes is the mastermind of the duo. Her constant verbal abuse has beaten the courage out of Beddoe and he cannot pull the trigger.

The film ends with a “travelogue-style” voice-over as we see Sullivan, now assistant bank manager, welcoming Haggerty. Outside, peering in, stands granite-faced McGraw, still on “The Sullivan Case.” They both laugh knowing he has lost all credibility.

Note: Burly Richard Reeves has a couple of good turns as the taxi business owner. The best is nearer the end at the apartment of Beddoe. Sullivan asked for Reeves’s help and to meet him there. The ever-present McGraw arrives there first, however, after the “Hughes-Beddoe Gang” escapes. He finds Sullivan waking from a knock on the head. When Reeves and taxi pal show, they stop McGraw from pounding on Sullivan then do not let him leave the room to pursue him. Reeves insists. One solid punch and McGraw turns all limp. “Keep forgettin’ my own strength,” he confesses.