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 final review of eight Lippert films.

MOTOR PATROL (1950)

This hour-long film opens in obviously low-budget fashion yet as an honorable tribute to the motorcycle patrol officers of Los Angeles. I felt like standing to salute during the opening score by Ozzie Caswell—reminiscent of a college marching band or a football newsreel—as motorcycles leave the station in parade fashion. This main theme returns to close out the film. Later, during overlapping scenes of night patrols, he uses a couple of bars of situational comedy music. Certainly worthy of issuing a ticket. There is some location shooting but expect a lot of back-screen projected scenery during the studio motorcycle “chase” segments. The speedy, climactic cycle chase is especially funny as the hero's fedora is surely stapled to his forehead. Motor Patrol is produced by Robert L. Lippert and Barney A. Sarecky for Lippert Pictures and directed again by Sam Newfield. Fast-pacing was a Lippert signature yet this movie definitely played better in mid-twentieth century. Other Lippert signatures are the occasional abrupt editing.

As each motorcycle peels off from the "parade" to its intended patrol area, the film quickly shifts to the Los Angeles Police Academy's firing range. First up are the female traffic cops aiming at parking meter silhouettes. You can believe that if you want. The male officers only get a tiny dot on cardboard. The location provides the perfect opportunity for Newfield to introduce the main cast, Officers William Henry and Don Castle, plus Detective Reed Hadley. Richard Travis innocuously appears later as another detective. Yes, Lippert regular, Sid Melton, does his shtick as a bar owner where everyone knows his name: Omar. The leads work well enough in this dialogue-heavy screenplay by Maurice Tombragel and Orville Hampton, but expect some amateurs in the supporting cast.

Once Officer Henry's character is established, one gets the distinct feeling his days on the force are numbered. The apparent hit-and-run accident he was investigating was simply a cover for an automobile theft racket. Henry pays the price for getting too well-informed. Castle, engaged to Henry's sister, is asked to infiltrate the gang of pre-owned vehicles. The gang employs a tow truck driver—a familiar face from his Warner Bros. days—Frank Jenks, who is suspicious of the new guy. Things really heat up during the final aforementioned motorcycle pursuit.