A dark Los Angeles night. A reckless speeding car is seen racing through the streets running a red light. When it comes to a screeching stop, a hunched over man gets out and enters the Pacific All Risk Insurance Co. Building. After looking at row after row of desk after repetitive desk, he goes into his private office. The man is hurt badly. Hunched over, perspiration running down his face, he begins to tell his tale into a dictaphone. His name is Walter Neff, and he is about to make a confession. Continue reading →
On September 2nd 1935, a category five, the highest level, storm slammed into the Florida Keys. The storm hit on Labor Day. Original predictions had it heading between the Lower Keys and Cuba. At first, it was thought to be of lesser severity. Then it blew up heading toward Upper Matcumbe Key, Plantation Key and Tavernier Key with wind speeds between 200 and 250 mph. It turned out to be the strongest hurricane to ever make landfall in the United States. Storm surges ranged from 18 to 25 feet. Towns like Tavernier and Marathon were left with no buildings standing. Other towns nearby suffered catastrophic destruction. Over 400 hundred deaths were reported, many were World War I veterans who were working on the completion of the Overseas Highway the road that would connect the mainland to the keys. The veterans were part of the government’s Civilian Conservation Corps (CCC). Continue reading →
Kid Galahad is a solid entertaining Warner Brothers film starring Edward G. Robinson, Bette Davis and Humphrey Bogart, so you can hardly go wrong. The film was directed by Micheal Curtiz who just a few years later would direct Bogie in one of cinema’s greatest classics, Casablanca. Here Bogie is still a second string player in one of his typical, for the time, gangster punk roles he was being typecast to play. He had the unlikely name of Turkey Morgan. Like what tough guy has a nickname of Turkey? Continue reading →
By 1965, Steve McQueen was a star with hit films like “The Magnificent Seven” and “The Great Escape” already behind him. Yet, McQueen still had not proven he could carry a film, films where he alone was the big name. “The Honeymoon Machine,” “The War Lover” and “Hell is For Heroes” did little at the box office no matter what their quality. McQueen was still chasing the one actor who he saw as his rival, Paul Newman. With the release of “The Cincinnati Kid,” Steve would be on a cinematic roll pushing him through the stratosphere for the next few years equal to that of his screen rival.
I first saw “The Cincinnati Kid” in 1965 at a little theater in Downtown Brooklyn called the Duffield. Back in those days, this area of Brooklyn was a sort of mini Times Square with the boroughs largest and fanciest movie palaces all within walking distance. The Loew’s Metropolitan, RKO Albee, Brooklyn Fox and Brooklyn Paramount were all large grand scale theaters, each seating more than 3,000 people. The Duffield, on the other hand, was a small theater, approximately 900 seats, located on a side street (Duffield Street) just off Fulton Street, the main thoroughfare. McQueen was cool, as Eric Stoner, aka The Cincinnati Kid, his screen persona in full bloom. He had the walk and the look. He doesn’t talk too much but McQueen was always at his best when playing the silent type, it was all in his face and his body language. In truth, I was always more of a Paul Newman fan, but in this film McQueen was it, total sixties cool. Continue reading →
“The Amazing Dr. Clitterhouse” is an odd little Warner’s film with Edward G. Robinson as a Park Avenue doctor who decides to do some research on criminal behavior by becoming a criminal himself. After stealing some expensive jewelry at a dinner party he seeks out a fence by the name of Joe Keller who turns out to be Jo Keller (Claire Trevor), a woman. Jo’s gang includes “Rocks” Valentine (Humphrey Bogart), a young Ward Bond, Slapsie Maxie Rosenbloom and Warner Brothers’ regular Allan Jenkins.
To continue his research the good doctor goes on “vacation” in Europe freeing him up from his practice to secretly join the gang in a series of daring robberies. This is a out of the ordinary film that manages at times to be suspenseful, funny, and sinister with a whiff of mad scientist thrown in for good measure. At times the actors seem to be in different films; Bogart in a straight gangster film with “Rocks” in the ranks of his greatest slime ball characters while Robinson acts as a scientifically aloof madman obsessed with his findings going to any length to save his breakthrough research.
In the final courtroom scene Clitterhouse is on trial for poisoning “Rocks” after he discovered the Doctor’s real identity and blackmails him forcing in to stay in the gang. Clitterhouse objects to testimony in court that he must be insane fearing all his research would be disregarded. Still the jury finds him innocent by reason of insanity leaving Clitterhouse not only confused but innocent of murder charges, an ending that was daring for its time when the production code was strictly enforced and criminals must pay for their sins.
The script was written by John Wexley and John Huston based on a play by Barre Lyndon, and was directed by the reliable Anatole Litvak. It was during the filming of this movie that Bogart and Huston met and became friends, a partnership that would lead to some of Hollywood’s greatest films. Huston, Robinson, Bogart and Trevor would reunite some ten years later in “Key Largo.”
This is a reprint of a short review from my Weekly Wrap column that I have been doing over at the “Watching Shadows on the Wall” blog, I am reposting some of the short reviews I have written over there that fit into the scope of 24frames.
From Little Caesar to Little Giant. Just two years after Edward G. Robinson made celluloid history as Rico in Mervyn LeRoy’s “Little Caesar” he and Warner Brothers were spoofing his tough guy image in this little gem. With a story line similar to the better known “A Slight Case of Murder”, which was made some five years later in 1938, this film has Robinson as gangster Bugs Ahearn who decides to get out of the bootlegging business and go straight after Roosevelt’s victory over Hoover and the government’s announcement to repeal prohibition.
Rich from his 12 years of bootlegging, he decides to relocate to California and mingle in high society. The film becomes a fish of water story as Bugs, hiding his true identity, become a target for every scam artist on the west coast especially the evil Cass family. From pretty Polly Cass (Helen Vinson) who seduces him hoping to marry so she can get a quickie divorce and a large settlement, to her brother who sells Bugs polo ponies and finally, the father who sells Bugs an investment firm on the verge of bankruptcy and has the law coming down on them for fraud. Also on board and about the only honest person in the film is Ruth Wayburn (Mary Astor) who of course falls secretly in love with our gangster hero.
The mix of slapstick and verbal humor, many that play on Robinson’s gangster screen image, keeps this film moving at a snappy pace. The film is directed by Roy Del Ruth whose career seems to have flourished during the pre-code era while he was at Warners. His works from this period include “The Maltese Falcon” (1931), “Blonde Crazy”, “Lady Killer”, “Blessed Event”, “Employee Entrance” and “Taxi.”
“The Little Giant” is the least known of four comedy gangster films Robinson did in his career, at least with him in the lead, and deserves to be known better than it is. TCM always has the other three in their rotation (The Whole Town’s Talkin’. A Slight Cast of Murder and Larceny Inc.) however, this one seems to have fallen off the map. It deserves better.
This is a reprint of a short review from my Weekly Wrap column that I have been doing over at the “Watching Shadows on the Wall” blog, which frankly does not get much traffic. Susequently, I thought I would repost some of the short reviews I have written over there that fit into the scope of 24frames.
Vice Squad – Arnold Laven (***) standard cops and criminal “B” film. Made in 1953, it is the kind of routine movie that the advent of television killed off. Edward G. Robinson past his heydays but still big enough to command the lead in this kind of film stars as a police captain who does not mind bending the law if it means capturing two cop killers. Co-starring is the beautiful Paulette Goddard as madam who helps police Captain Robinson out. Though she received second billing her role is essentially a cameo. The cast is filled with some good character actors including Porter Hall as the funeral director and Lee Van Cleef as one of the cop killers ( I don’t think I am giving anything away here. A decent script by Lawrence Roman, with some exceptional dialogue between Robinson and Goddard, and some excellent shadowy photography by Joseph Biroc who worked with Sam Fuller a few times in the 1950’s. Definitely worth a look for those who like crime films from this period.