Doctor X (1932) Michael Curtiz

doctor-x-movie-poster-1932-1010524764A grisly mass murderer who is known as the “Full Moon Killer,” his victims are always attacked when the moon is full, is on the loose in New York City. The only clue the police have is that the killer must have a medical background. Doctor Xavier, aka Doctor X, (Lionel Atwell) and his staff at a local medical institute have become the main suspects since the victims are not only strangled but cannibalized. The good doctor convinces the police to let him conduct an in house investigation of his staff for 48 hours so as not to stain the reputation of the institute. They agree. Continue reading

Kansas City Confidential (1952) Phil Karlson

Phil Karlson made a string of crime films in the 1950’s that few could equal in volume and quality. One of his earliest and best is 1952’s “Kansas City Confidential,” a hard fisted noir thriller that never lets up in tension for its entire running time. Joe Rolfe (John Payne), is an ex-con, now gone straight, working as a florist delivery driver who is set up to take the fall for a $1.2 million bank robbery. The gang of four split up until the heat is off with plans to meet in Mexico where the money will be divided up. Through sheer perseverance, Rolfe pursues the robbers in order to clear his name; however,  but after the death of one of the crooks, shot by the police, he decides to muscle himself in on a share of the money.

The film is shot in a straight forward style with a grittiness and hard hitting violence, rare for its time. It also has the good fortune to have three of the 1950’s nastiest looking criminal character actors, Jack Elam, Neville Brand and Lee Van Cleef in the kind of roles they do best. Heading up the gang is Preston Foster, who plays Tim Foster, an ex-cop, gone bad, contemptuous that after twenty years on the force, his pension is so small. His plan included having his three heavies wear face masks at all times when they meet obscuring their identities from one another, lessening the chances one will squeal on the other if they should get caught by the law. Pete Harris (Jack Elam) is first, a nervous slimy looking gun happy thug. Next is borderline psychotic, the  stone faced Boyd Kane (Neville Brand) and the last member is Tony Romano portrayed by the snake like Lee Van Cleef. It’s a rogue’s gallery of menacing ugliness.

The heist goes off as planned except that the cops pick up Rolfe as part of the gang. The truck used by the robbers was an exact replicate of Rolfe’s flower delivery truck and the police quickly come to the conclusion he was in on the job. He is eventually proven innocent however, not before one sadistic cop applies third degree tactics for three straight days in an effort to beat the “truth” out of him. Rolfe is enraged that he has been unknowingly used as a sap in the robbery. He sets out to find the criminals and seek revenge. He finds them in Mexico and assumes the identity of one of Pete Harris, after he is shot dead by Mexican police. With other gang members unaware Harris is dead, Rolfe manages  to works his way into the gang posing as the dead gang member. However, it becomes complicated with the arrival of the gang leader, along with a woman, Helen (Coleen Gray), with who Rolfe begins a relationship. Helen, it turns out, is the gang  leader’s daughter. 

“Kansas City Confidential” was one of the most brutal films to come out of the U.S. at the time and not surprisingly met with some censorship problems. It also met with wicked condemnation from critics including The New York Times’ Bosley Crowthers whose review consisted of nothing but complaining about the seedy characters and the violence. Crowthers also found it extremely hard to swallow that there could ever be a police officer who would be so brutally sadistic in attempting to coerce a confession out of a suspect.  “There is an obvious and sickening implication,” he writes,” that the Kansas City police are not only rough when they capture a suspect, but they exercise a wicked ‘third degree.’ There is one character in this little run-down, supposedly a plainclothes cop, who is as nasty and sadistic in behavior as the hero or any of the thugs. This, of course, does not lend a climate of hope or moral uplift to the film.”

The “one character” who is “supposedly a plainclothes cop” is no doubt a police officer. Mr. Crowthers inability to admit that this type of behavior sometimes exist is extraordinarily quaint. 

John Payne who transitioned himself, career wise, from Mr. Nice Guy on screen played a similar role the following year in “99 River Street,” and again in “Hell’s Island,” two other edgy Karlson crime films  and suitable follow ups to this film.

Phil Karlson made his way up from Poverty Row where he worked on the cheapest of  low budget fare like “The Shanghi Cobra” and “Dark Alibi,” two Charlie Chan mysteries,  and the Bowery Boys epics “Live Wires” and “Bowery Bombshell.” He was just moving into his golden age period with a series of films in the 1950’s that would cement his reputation as a fixture of classic low budget crime films. His works during this period included, “Scandal Sheet,” “99 River Street,” “Tight Spot,” “Five Against the House,” “The Phenix City Story” and  “The Brothers Rico.” He would also direct the two part TV premiere episodes, later combined and released in movie theaters, called “The Scarface Mob” from the TV show, “The Untouchables.”

Karlson’s later work would vary in quality ranging from the soap opera like “The Young Doctors” with an eclectic cast that included Dick Clark and Aline McMahon, an Elvis Presley remake of “Kid Galahad,” two Matt Helm films,  “The Silencers” and “The Wrecking Crew” featuring Dean Martin, the odd ball creepy horror fest about a young boy and his pet rat, “Ben” (sequel to Willard) and the red neck law and order anthem of the 1970’s, “Walking Tall.”

I Shot Jesse James (1949) Sam Fuller

    Sam Fuller’s first directorial effort was “I Shot Jesse James”, a fictional account of the outlaw life of Robert Ford. The film insinuates that Ford and Jesse were good friends for a long time, which they were not. Bob’s brother Charley was a member of the gang prior to Bob joining. As a young man, Bob admired Jesse and his criminal exploits, however by the end of 1881, the James gang had disintegrated, Frank James retired from a life of crime and many other members’ were dead, in prison, or they just took off fearing the law was closing in on them. Jessie had planned to retire from the life himself but wanted to do one more robbery. He was living in St Joseph Mo. with his wife and family under the name of Robert Howard. The Ford Brothers were also living in St Joseph under the assumed name of Johnson, posing as relatives of the Howard’s. Jesse’s last robbery was to be of the Platte City Bank. Unknown to Jesse, the Ford Brothers had agreed to accept a $10,000 reward for killing Jesse that was being offered by the Missouri Governor Thomas T. Crittenden. Ford was given ten days to kill Jesse and, in addition, would receive a full pardon. As portrayed in most films on Jesse James, Ford shot Jesse while he had his back turned standing on a stool straightening out a wall hanging. “I Shot Jesse James” uses some real life characters but pretty much fictionalizes how things really were. Preston Foster portrays a character named Kelley who becomes a sheriff and eventually shoots and kill Bob Ford. In real life, Kelley’s name was O’Kelley, and was an unsavory character and certainly never held a sheriff’s badge though he did kill Bob Ford. One day, using a shotgun he walked up to Ford and said “Hello Bob”, as Ford turned, he shot him.  No one is sure why exactly he killed Ford though it has been said that Soapy Smith, another criminal may have convinced him he would be famous for killing Ford. In the film, Smith is portrayed as an old silver miner who takes Ford in with him and they strike it rich together. This is all pure fiction.  Soapy was an organized gangster, a confidence man who ran saloons and built his own criminal empire.

    All that said, Fuller gives us an alternate view of the Jesse James legend focusing on the “dirty little coward” Robert Ford. Fuller’s dark vision of Ford’s life is that of a man haunted by demons after the assassination. He is hunted by gunslingers who want be the man who kills the man who killed Jesse James. He fines himself haunted for his cowardly deed and is even unable to reenact the assassination on stage for money. He loses the girl that he loves who is repulsed by him since he killed Jesse in such a cowardly way. One of the most interesting scenes takes place in a bar when a troubadour enters singing “The Ballad of Jesse James” which includes the words “but that dirty little coward that shot Mr. Howard has laid poor Jesse in his grave.” Unbeknown to him, Robert Ford is standing at the bar. When he recognizes Ford, he stops singing but Ford demands that he continues, listening to the words describing him as a traitor and a coward.

    John Ireland, at thirty-five is a bit old to have played Robert Ford who was only twenty when he killed Jesse and thirty when he was murdered himself. The character of Kelley, portrayed by Preston Foster, is not clearly defined, and seems to appear wherever Ford travels. As mentioned, the film takes a different slant on the Jesse James legend. Where most films focus on Jesse, here the focus is on the aftermath of the shooting. Definitely, worth a look as long as you are not looking for a history lesson.