DOUBLE JEOPARDY (1955)

 

Stoically stiff, yet charmingly handsome, Rod Cameron plays a criminal attorney nearly engaged to Allison Hayes, whose father, a wealthy businessman played by John Litel, thinks highly of Cameron, personally and professionally. It is a good guy role for Cameron, with a short list of villains to his credit. Perhaps the director suggested that the brunette Hayes lighten her hair. The problem is that she and her equal-billed co-star, Gale Robbins, look similar in their opening scenes, sharing a hairstyle, facial structure, and figure. What separates the two is Robbin’s annoying character, an extremely deceptive and smart-aleck tart. Money is her only interest, not her former wealthy husband, Robert Armstrong. He has not worked in years since serving a prison term for a shady business deal with his former business partner, the aforementioned Litel. He now spends his idle hours consuming alcohol by the quart. That, and blackmailing Litel to keep their secret sealed. Enter problem child, Jack Kelly.

Kelly and Robbins are in a deceptive lust affair. They deserve each other. Kelly is a salesman for “Happy Harry’s” used car dealership. He is as greedy and unethical as they come, roles that were typical during his career. Portly Dick Elliott plays Harry, some years away from being a one-term Mayor of Mayberry. At Kelly’s suggestion, Robbins sweet-talks Armstrong into pressuring Litel for a second big payoff. Another dreaded phone call, and Litel meets Armstrong on their usual mountain overlook. But Litel has not brought any money; he has only rendezvoused with the extortionist to say he has had enough. Slime bag Kelly has been watching from afar, and after Litel drives away, he confronts Armstrong, demanding the assumed money. They argue, then Armstrong gets behind the wheel and attempts to drive off. Outside the passenger side of the car, Kelly impossibly pulls Armstrong away from the driver's side in a questionable bit of editing. Suddenly, Armstrong is in the passenger side with his right arm dangling out the side window. The car slowly rolls backward over a cliff. 'Twas the crash that killed the drunken beast.

Based on the specific tire tread pattern of his Rolls-Royce leading to the spot, Litel looks good for the murder. He finally admits his past about a failed financial deal for a new housing development. Investigating on his own, Cameron puts the idea into Robbins' head that Kelly planned to double-cross her and keep the money for himself. The two “love doves” drive to the scene of Armstrong’s demise to get the invisible money. Kelly's only plan is to silence loose lips.

This drama, with an oft-used title, was produced by Rudy Ralston and written by Don Martin for Republic Pictures. The veteran of many Republic westerns, R. G. Springsteen, directed this crime-mystery. It is a competent cast that elevates this familiar-themed film of extortion and lying characters—two Hollywood favorites. This very unknown film holds up well enough for seventy minutes. Taking out footage for commercials, it could have been a perfect fit for an Alfred Hitchcock Hour television episode.

Note: Late in the film, Cameron begins suspecting Kelly is surely guilty of something and poses a few questions to Elliot. Covering for Kelly, the attorney gets the run-around. Fed up and realizing there will be no straight answers, Cameron sarcastically deadpans, "Well, are you happy, Harry?"

DOWN THREE DARK STREETS (1954)

Produced by Edward Small and distributed by United Artists, this film is another pseudo-documentary-style account of the FBI pursuing three cases (dark streets). Underlying the opening credits is a commanding, All-American march theme by Paul Sawtell. The film wastes no time locking in the viewer with the murder of a gas station attendant, followed by a brief, dark and suspenseful scene tracking a killer. Then it settles into melodramatic voice-over narration informing the viewer what the actors are doing, have done, or will soon do. Aside from the first-rate performances, this movie possesses nothing new for the moviegoer. Broderick Crawford is solid in this warm-up for his successful television series, Highway Patrol. Literally and figuratively, he carries a lot of weight as an agent who plays it by the book but with empathy. Working alongside Crawford is polite FBI agent, Kenneth Tobey, always excellent with a genuine professional demeanor in any of his authoritative roles. The script is pretty riveting as his story unfolds. Tobey was working on the three cases, each one involving women who may or may not have a common thread. Unfortunately, he ends up with much less dialogue than Crawford. 

Woman number one, Roman, is a primary dark street. She is getting calls from an extortionist with demands threatening her and her young daughter. Roman is a nervous wreck, and Crawford replaces Tobey to help discover and apprehend the extortionist. Woman number two is Martha Hyer, who tries too hard for a Best Supporting Actress nomination. As the worldly girlfriend of the guy who killed Tobey and the service station attendant in the opening, she shows every sign of trying to steal scenes from Crawford. A tough job. Marisa Pavan is woman number three. Her conversation with Crawford is methodically talkative but provides a tender moment. She is so familiar with her surroundings that it takes a while for Crawford to realize her character is blind. Her husband, Gene Reynolds, is suspected of hot car hustling. Known car hustler and boxer, Claude Akins, is also apprehended. He and Reynolds pretend not to know each other, but when the FBI mentions Akins using Paven as a punching bag, Reynolds attacks him, fists flying. The violent tussle between them goes without a single expletive. Not that anyone would expect it during this era. But a rarity for today's films as useless words are regurgitated without any self-control.

Roman closes the film with the climactic finale. A phone call instructs her to find a hidden note at a designated location. It is the classic ransom note with individually clipped letters pasted on paper. She is to put the payoff money under the "W.” She revolves, looking for the letter, then spots the Hollywood sign up the mountain. Upon getting closer, she double-checks the note to make sure which letter she is looking for. She really is rattled. As scripted women seemed to do in this era, she stumbles, spraining her ankle from heels that should never go off-road. The money spills out of her purse. The extortionist, a face not unfamiliar to her, grabs the money and escapes through the big "O" letter. He has a very short drive as the way down is blocked by the police. 

After all the creeps Crawford deals with, Roman is a breath of fresh air. As she is escorted home, he tells his partner, “Sometimes you meet some nice people in this business.” The film closes from an elevated camera position and the return of the majestic march theme. Not unlike a Highway Patrol ending.

Notes: Max Showalter, using his singing career name, Casey Adams, for this film, is a persistent “friend of the family” to Ruth Roman and a frequent date. His brief appearances do not lessen his impact. Speaking of a bit too frequent, Jay Adler has a creepy role as Roman's sleazeball uncle who comes and goes when one least expects it. He has no relevance in the film and simply gives the audience someone else to wonder about. Suzanne Alexander has a couple of short scenes in the early going. Her acting becomes unintentionally funny. She is unable to reveal details for fear of her life. The FBI agents are at the end of their patience as she sits, constantly trying to work up some acting tears while fiddling with her noisy, tinkling charm bracelet.