THE PACE THAT THRILLS (1952)

You can thank the producer, Lewis J. Rachmil, for helping make this RKO Pictures release just sixty-three minutes long. Howard Hughes' tread marks are evident in this film, with opening dramatic action shots of motorcycle racing appearing to have been filmed a decade earlier. No music score beneath the credits, just the roar of racing. The historic motorcycle fan may like it. Plaudits go to good rear camera work right in the thick of the racing sequences. Of course, sandwiched in between are the familiar fuzzy studio-projected backgrounds of the actors' pseudo-racing." A predictable script with supporting actors, more C-movie than B-movie, it becomes simply a time-filler, as it was for me. Despite these things, the entertainment value is pretty high.

With a similar visual opening, do not confuse this film with the motorcycle gang film, The Wild One. The dweebs in this movie certainly could use some road manners, but their Clover Leaf "Sickle" Cub (as one character pronounces it) becomes a gang only to play cycle soccer, have a cola, or ride together, weaving between oncoming traffic. Or feel the thrill of your best girl hanging on for dear life when they "pack double," as those crazy cavorting young adults used to say. But it is not, as the poster suggests, murder on wheels. Death on wheels? A distinct possibility.

The movie centers around the misunderstood era of motorcycles and winning anyway you can. Bill Williams' style of racing has taken a cue from the roller derby circuit as he, quite literally, kicks challengers out of a race to win. When your company does not have the fastest bike, cheating levels the field. Encouraging “Long Leg Williams” is his boss and cycle builder, Robert Armstrong. He feels bad that Williams has to play dirty, yet he can live with that. The chief engineer and childhood friend of Williams, Michael St. Angel (RKO changing his name to Steve Flagg), is building a new cycle with fluid drive, as per Chrysler transmissions of the day, I assume. He thinks Williams is the best rider in the city limits. If Williams rides it, they are sure to win. Possibly without cheating. But one never knows. 

Enter female newspaper reporter, Carla Balenda, who is sent to do a hard-hitting story about what these nuts do on weekends. When she witnesses William's lack of riding etiquette in the ring of dirt, her story berates Williams to the point of tears. Well, unlikely. She gets a new perspective on cycling, though, when she and Flagg take to the road with other club members. There is a lot of filming as actors recite dialogue in the movie’s middle. Enough said. Flagg’s new “sickle” still has flaws to work out, but no dough to do it. Williams racks up funds by racing and stunt riding on the Daredevil circuit, county fairs, and Girl Scout cookie fundraisers. Flagg again pilots the new bike in a major race while graciously, carefully, Williams takes himself out on the final lap in a controlled crash, giving Flagg and the new cycle the win. But that is all he wins. Williams gets the girl.

NOTE: Williams is half of the acting glue that barely holds this film together. Robert Armstrong is the other half. Frank McHugh is on hand to do his trademark high, lilting laugh. Balenda holds her own, but that cannot be said of the handsome Flagg. His lines are delivered like a polished amateur. The name change did not help. A red flag that his career was not going to be remembered.

THE LAS VEGAS STORY (1952)

Howard Hughes puts his trademarks on this eighty-eight-minute RKO Radio Pictures film, what with the flying sequences and microscopic closeups of his leading lady. A hardly unknown film, it lost money at the box office. However, with the pairing of Victor Mature and Jane Russell, it is hard to ignore. Despite some inferior projects, Mature never embarrassed himself. He is his usual flawless self, yet his co-star, Vincent Price, takes a back seat to no one. Throw in Hoagy Carmichael and you have the potential for fine entertainment. It was directed by Robert Stevenson and required the trio of Robert Sparks, Howard Hughes, and Samuel Bischoff to produce it.

With similar “dangerous” facial features, testy pout, and a noteworthy sneer, Russell may remind one of the female Elvis. She could hardly be called flat except for her adequate acting and one-dimensional delivery here. Her eyes are generally expressionless and her potentially witty comebacks are not as pointed as in the superior, His Kind of Woman, a year earlier, with Robert Mitchum. Nonetheless, she had one of the most beautiful smiles in Hollywood. But lately, those smiles only happen when she is around Happy, played by Carmichael, the casino pianist. Thanks to his delivery, he lightens the film considerably, if not frequently. His opening narration sets up the background for the film's stars. Hoagy's folksy tone of a “country cool cat” is endearing. He performs an early “rap” song, “The Monkey Song.” The difference with his rap is that he uses an actual melody. The 1938 song, “I Get Along Without You Very Well” is reused for this film. Russell is filmed only from the waist up while singing, providing another comparison to Elvis. But with Hughe's opposite intentions.

Russell's husband, Price, insists on vacationing in Las Vegas, determined to play the tables in hopes of winning enough to pay his debts. He is decidedly a character with selfish motives. Russell preferred a flight anywhere else from fears of running into her old flame, Mature, now a lieutenant with the Sheriff's Department. Throughout most of the film, he and Russell get along without each other very well due to their parting years before, the result of poor communication skills. Russell's 100 grand necklace becomes Price's gambling collateral with the casino owner attempting to secure it. Getting off the same flight as the newlyweds is "Mr. Smarmy" himself, Brad Dexter. He has been assigned by his insurance company to watch Price and Russell's neckli...uh...necklace. Dexter slimes into the dark side about halfway through the film.

The climax, filmed at the former Tonopah Army Airfield, was the first car and helicopter chase sequence in a movie. Flying twice through an open hanger was a groundbreaking sequence and I imagine amazed the audience. Dexter's useless driving around in circles in his attempt to evade the helicopter is pretty silly. The foot chase between him and Mature is a high-wind final confrontation yet typical of the era. Price is no longer a murder suspect but is found guilty of embezzlement to please the audience. An appropriate wrap to the film. But wait. It is not quite over. After two murders, theft, and an extended chase scene, one might not expect to have another song thrown in. Written for this film and Mature's character, “My Resistance Is Low” is an okay Carmichael song but hard to sit through because of Russell's syrupy delivery and slurred esses. I digress. There will be divorce papers to sign and assuming they can keep their personal blowups restrained, Russell and Mature may roll the dice one more time. Viva Las Vegas!