FILM BRAKE : ZIV TELEVISION

 

The Ziv Television Programs was founded in 1948. By 1955, Frederick Ziv churned out more than 250 half-hour shows until first-run syndicated programming dwindled in the early1960s. Despite starring some noted actors, the vast majority only ran for one season. Ziv's longer-running shows were The Cisco Kid, Sea Hunt, and Highway Patrol, which I have elected for this entry.

HIGHWAY PATROL (1955-1959)

This 156-episode crime drama action series famously stars Broderick Crawford as the dedicated Dan Matthews, a gruff, yet empathetic head of a police force. Clad in a suit and fedora, Crawford's signature rapid-fire delivery served him well as he barked into a patrol car's microphone any number of police codes while leaning against the open door of his Buick patrol car. The show was created in response to the California Highway Patrol wanting to be featured in a series. However, Ziv thought the show needed a broader police scope so the state name was dropped. In its early run, the show received technical assistance from the California Highway Patrol, using actual patrol vehicles. Apparently unhappy with the show's direction, they dropped their support and the producers had to use unofficial vehicles with their own subdued markings. The show opened with aerials from a helicopter as it buzzed over a highway roadblock. David Rose's military march theme song then set a noble tone.

Ziv has stated that the small budget show moved at a fast pace to match Crawford's rapid delivery. He claimed the show introduced "quick cutting" to television, starting a new trend. The opening narration by the unmistakable voice-over artist, Art Glimore, gave the sense that the story unfolding was pulled from actual police files. Not exactly, but the show was noted for realism and its famous location shooting around the formerly rural San Fernando Valley and Simi Valley. Common pursuit locations included the curb-sided Griffith Park Drive and nearby Bronson Canyon. The show centered on crime-fighting rather than issuing traffic tickets, though during its formative years, the episodes ended with Crawford himself delivering pithy traffic safety advice—sometimes humorous—aimed at the television viewer.

Note: The show featured many actors who went on to become successful stars in their own right, among them was Stuart Whitman as Sgt. Walters, Guy Williams appeared occasionally as Matthew's partner, Clint Eastwood, Robert Conrad, Larry Hagman, Barbara Eden, Paul Burke, and Leonard Nimoy. 

Lippert Pictures Series

Robert L. Lippert controlled a successful low-budget American film production and distribution company from 1948 to 1956, producing short, fast-paced westerns and crime films with a penchant for obligatory humor, and the occasional jarring edits. This is my first of eight Lippert films.

RADAR SECRET SERVICE (1950)

Suppressing counterfeit currency was the Secret Service's primary objective in 1865. In future decades its service expanded to other areas. But few anticipated—nor actually considered—radar. So forget G-men. The R-men are really on to something, cracking down on California crime one telemeter at a time. The opening voice-over excitedly points out that radar's potential is “beyond belief.” For this film, I have to agree. As confirmation, the radar operator back at headquarters tells his boss they located a school of fish by radar that resulted in an unbelievable catch of the day. This potential I could believe though it has no relevance in this movie. But there were those who could imagine all sorts of useful things it could do in true science fiction fashion—live images in the fashion of a highway webcam. The relaying picture quality is undeniably excellent as if the movie studio provided the footage. Similarly, how their stationary telemeters could possibly keep pace with a passing vehicle is a total mystery. Merely a minor issue to work out.

One could not be blamed if this sixty-one-minute film was thought to be originally a four-part serial—from the Thirties. It possesses a cast of “who knew” B-movie actors including John Howard as an agent of the Secret Radar Service (RSS) lobbying for more funds to expand the use of telemeters across the United States. That knee-jerk action is similar to suggesting that enough charging stations will make electric vehicles viable for the masses in three years. Tom Neal and Tristram Coffin—known to law enforcement as The Mustachioed Mickey & Michael—star as uneasy partners trying to intercept a shipment of Uranium-238 they hope to transport across the Pacific Ocean. Coffin never reveals his master plan but one can assume he will sell it to the highest bidder and probably double-cross Neal.

Robert “B-movie” Kent is the gang's enforcer. Too bad, he looked like such a nice young man. Returning famously in another devious typecast role is the soft Adele Jergens, girlfriend to Neal or Coffin, whichever works best into her future. Myrna dull—er, Dell—plays a waitress involved with a member of the “U-Gang.” Her boyfriend is recovering in a hospital from a gunshot wound by an earlier RSS raid. Angry because the gang leaders are not willing to help him, she eventually goes under the radar to help the RSS. Adding wacky levity to the gang is Lippert's own Sid Melton with the moniker, “Pill Box.” He is convinced his perpetual illness results from blood pressure “at a 140 net” and his “blow pressure is with a hypertension” and his “temperature is by the arrow Fahrenheit.” One wonders who vouched for the hypochondriac.

Headquarters use their radar to find the car carrying the radioactive material. To their dismay, Coffin had the incomprehensible idea of sending out a decoy car. Drat! Their horizontal radar beam has its limitations. A fragile-looking Hiller 360 helicopter is employed to track fleeing criminals from above during a yawning chase with cars “rocketing” down the highway at nearly twenty miles per hour. The helicopter was a marvel during this period but it would not be long before it would mock radar's usefulness as a crime-fighting resource. The two gangs meet in the California countryside just as the radar patrol arrives. It becomes a trilogy of gunfire. A wounded Neal manages to make it to Coffin's hideout for a final confrontation. More mayhem ensues as the armed waitress also arrives. The film ends with preparations being made for two additional coffins. 

Note: This is probably one of the more silly premises from Lippert Pictures, again directed by Sam Newfield. The “1940” worn-out screenplay was written by Beryl Sachs—his last of five films—but I appreciated his take on Melton's character, though misplaced it may be in this “action-packed thriller.”