HOT CARS (1956)

This sixty-minute American crime film stars John Bromfield in the best of his four Bel-Air Production films (see below) in a modern-day setting, again playing a man out to prove his innocence or regain his self-esteem. The film is fast-paced with a high degree of believability. The acting is not forced with everyone doing a fine job without [hardly] a single unintended laugh-out-loud moment. Based on “Hot Cars” by H. Haile Chace, it is directed by Don McDougall, and written by Don Martin and Richard Landau. It was produced by Howard W. Koch. Uncharacteristically, I spend more time discussing this storyline because of the twists and characters in the film. 

The opening jazz band score by Les Baxter sets the tone for the film while the viewer watches a 1955 Mercedes-Benz 190SL convertible being test driven. Under superimposed screen credits, we watch Bromfield pull the sportscar to the roadside so the potential buyer, and stereotypical bombshell, Joi Lansing, can take the wheel. She provides the only curves—nearly all hairpins—in the film. Building customer relations is foremost in his mind so they stop at Santa Monica's “Jack's at the Beach” bar for a drink and chat, hoping to close the deal. Before the drive back to the dealership, he irresponsibly—an unintentionally funny moment—asks her, “What good is one drink without one for the road?” Though the salesman seems to now have a heavy foot, they safely return to the dealer lot. But she drives away in her own 1956 Chrysler New Yorker convertible.

Bromfield's perpetually irate boss, Robert Osterloh, an auto-shyster of the first order, is savvy enough to know his clientele. He blasts him for wasting time with a high-class dame who has no interest in used cars. Bromfield is straddling the unemployment fence at this point. Enter Ralph Clanton, who appears to be interested in an old MG roadster for only $700. But “Honest John” Bromfield tells him it was used on the racing circuit, has been rolled three times and will be nothing but trouble, in the hopes of getting him into a more expensive car. Clanton appreciates his honesty but drives away. Wanting to unload the dumpster roadster—and on his last nerve—Osterloh fires Bromfield. Clanton re-enters the picture by calling straight-arrow Bromfield about working for his own dealerships. The whole MG thing was just a test as was Lansing's coy attitude to open the film. As soon as Bromfield discovers the hot car racket, he walks out.

But the salesman and his devoted wife suddenly have an urgent financial dilemma thrust upon them when their ill son needs surgery. Caught between a rock and a hard place, Clanton accepts Bromfield's decision to return just as the always authentic Dabbs Greer enters the film. The detective asks the salesman to keep an eye out for any suspicious cars. Later that night, a shipment of hot cars is unloaded onto the lot and in near panic, the semi-driver—a real hep cat—tells Bromfield, “Cut the [dealership] lights, man!” The next day, Greer returns to look at a Chrysler, one of the hot cars yet to be moved behind the dealership. Bromfield's initial fear is unfounded because the detective simply wants to buy the car as an anniversary gift for his wife—she always liked Chryslers. Greer and his wife return, ready to sign on the dotted line. Bromfield is well aware the hot car will not remain a secret very long. In hopes of dissuading Greer, he tries a couple of stalling tactics then suddenly requires a larger down payment. Clanton's operative finally shows up with a pre-arranged sales receipt for the car. Greer is very suspicious and unhappy with the last-minute flip-flop with pointed comments leveled at Bromfield. The detective is too intimidating for the hot car henchman, who shortens Greer's script.

Two police officers want to question Bromfield about the murder but he cannot be found at home. When he does return, his wife pleads with him to tell the truth. The three men pay Lansing a visit and she denies ever meeting Bromfield yet he can prove they met. While in another room, he describes her bedroom furnishings—ahem—which have suddenly been “renovated.” Now a legit suspect, the salesman has an easy escape with the intent of tracking down the assassin. It leads to an exciting and authentic roller coaster climax at Ocean Park Pier in Santa Monica. The two men receive and give punches while being filmed from a coaster car in front of them. Quite a ride for the viewer. Jockeying for position, the henchman is thrown during a high-speed loop. Also thrown for a loop are Clanton and Lansing, who have been on law enforcement's radar for some time.

Notes: Bel-Air Productions was a joint venture between the director, Koch, and the independent producer Aubrey Schenck. These low-budget productions were all distributed through United Artists. Bel-Air usually offered realism on the cinematography front with its location filming. This movie is an eyeful for the automotive historian as it was filmed at Big John's and Johnny O'Toole's used car dealerships in Culver City, California. The film thanks both for their cooperation with an ending acknowledgment.

Bromfield starred in three other Bel-Air Productions of the period, more amusing, less tidy, and generally inferior to this film. Check out The Big Bluff, Crime Against Joe, and Three Bad Sisters.