Undertow (1949).

Review #1703: Undertow.

Cast: 

Scott Brady (Tony Reagan), John Russell (Danny Morgan), Dorothy Hart (Sally Lee), Peggy Dow (Ann McKnight), Bruce Bennett (Reckling), Gregg Martell (Frost), Robert Anderson (Stoner), Dan Ferniel (Gene), and Rock Hudson (Detective) Directed by William Castle (#369 - House on Haunted Hill (1959), #1071 - 13 Ghosts, and #1418 - The Night Walker) 

Review: 

Honestly, if you didn't know that the director was William Castle, would you bat an eye for this film? From 1943 to 1974, he made 56 films as a director, but it is strange to think that the films that you would recognize from him came in the last third of his career, one that saw him move past low budget crime affairs to low budget B-movies with sensational showmanship. But hey, the important part is that Castle was not just a director with one trick. He honed his desire of wanting to scare the pants out of audiences as a teenager to work in Broadway in a variety of jobs to a shot at Columbia Pictures before he was even 25 years old, and his first feature was The Chance of a Lifetime (released in 1943 as part of the Boston Blackie series of crime dramas). He moved to Universal Pictures with Johnny Stool Pigeon (1949). There isn't exactly a great deal of facts to talk about this feature, one where I can't explain why it is called Undertow, since that apparently sounded like a better one to market over the working titles of Frame-Up and The Big Frame (I guess framing is like a current of water?). The film was written by Arthur T. Horman (a busy writer for two decades) and Lee Loeb.

Honestly, for the brief sentences one can struggle to think about a movie that falls along the line of Castle's extensive early work, it proves to be a decent filler kind of movie. For a film noir, it works alright in generating tension in the moments that try to give off a sense of claustrophobia, one that has a selection of clichés you would see from a noir (such as the femme fatale or a race against time) that for the most part manages to not flub itself in getting to the finish line at 71 minutes while packing in a few nice shots of Chicago. Brisk is not a bad word to describe a movie, if you think about it. Granted, there are things to quibble about a movie involving a guy on the run having to prove his innocence for the murder of a kingpin where you don't even see the kingpin. It really is the kind of movie that focuses on the dry side of plotting that is exactly what you would expect from a programmer kind of movie. If you don't have that many cast members to begin with, the mystery can only go in a few directions that are more passable than clever; besides, having a small run-time means you can't have too much time spent on motivation, which affects Dow's character more so than anyone. It manages to have no terrible or great moments present, which means that the highlights really come from little sequences, such as a chase sequence with some steps or perhaps its quick climax that relies on a little confusion. Brady fares pretty well in one of his early roles in film, partaking in a slew of tough-guy roles while eventually adding on television to his line of work, which also can apply to Russell (each had a star role in a Western show in the following decade), who plays it pretty lean and fair. This was the first feature film for Dow, who had dabbled in modeling and radio before having a brief feature career; she does okay with a quiet part, one that can't be too contrived in innocence without seeming completely out of touch with the attempts at thrills and chemistry with Brady that pales when thinking of the allure generated in parts by Hart. Having Bennett's character be the way he is in the script is a bit of a stretch (an old buddy detective), but he at least makes it seem passable to what is needed in dry company. As a whole, one will either find comfort in its accomplishments of making a decent thriller with no frills or find it just a bit off their tastes. But one cant deny that Castle was the kind of director capable enough to try and make something out of nothing, and I suppose that makes it more than enough for the curious. 

Overall, I give it 7 out of 10 stars.

$ (Dollars).

Review #1033: $ (Dollars).

Cast: 
Warren Beatty (Joe Collins), Goldie Hawn (Dawn Divine), Gert Fröbe (Mr. Kessel), Robert Webber (Mr. North, Attorney), Scott Brady (Sarge), Arthur Brauss (Candy Man), Robert Stiles (Major), and Wolfgang Kieling (Granich) Directed by Richard Brooks (#871 - Cat on a Hot Tin Roof)

Review: 
Admittedly, the title sticks out pretty easily, because how many movies have a symbol as their title? In any case, $ (also known as Dollars and The Heist in the United Kingdom) is an interesting heist movie that certainly has its moments, along with having a fairly dynamic cast that makes for good entertainment, starting with Beatty and Hawn. Both of them do a fine job in the roles they have within the heist, rolling off each other with a kind of energy that is compelling in how they work off each other. Beatty does a fine job in selling this role with angles and cons throughout, being quite clever and quite charming to follow for the film. The same can be said for Hawn, who has a magnetic appeal that resonates with any scene that she is, whether when acting against any of the crooks or with Beatty. The film doesn't dwell much on how these two came together nor much on the specifics of the plan, but the way that it focuses on their approaches for getting this money and how much fun it is to see them do it is more than enough. Fröbe does a fine job as the bank president, showing some authority and class to the role that fits just neatly with the film. The adversary crooks also do a fine job, particularly Brauss, with a fine pair of shades and a voice to go along with his ruthlessness. Brady also does a fine job, showcasing some greed in his portrayal that has a fine payoff. The heist sequences and the climax are fairly satisfactory, having their respective high points, such as the chase sequence (filmed in Hamberg, Germany), quiet but effective. It is interesting to note that the Kunsthalle, the city's principal museum of art was utilized as the exterior for the bank. The film certainly has a good look to it, never coming off as anything too fake nor too unrealistic for the time. The soundtrack was composed by Quincy Jones, with performances by Little Richard, Roberta Flack and Doug Kershaw, featuring the Don Elliot Voices as well. It gives the movie a bit of a groovy kick that is certainly welcome for the movie. On the whole, this is a colorful kind of film that takes its time to get rolling, but it has a fine payoff that makes the two hour run-time worth it in the final result.

Welcome to 2018, the ninth year with at least one review by me, with this being the first review of what I term "Season 8". Hopefully there will be a fun amount of reviews throughout the year for all of you folks to enjoy. 

Overall, I give it 8 out of 10 stars.

He Walked by Night.

Review #947: He Walked by Night.

Cast:
Richard Basehart (Roy Martin/Roy Morgan), Scott Brady (Sgt. Marty Brennan), Roy Roberts (Captain Breen), Whit Bissell (Paul Reeves), James Cardwell (Sgt. Chuck Jones), and Jack Webb (Lee) Directed by Alfred L. Werker (#676 - Shock and #721 - The Adventures of Sherlock Holmes) and Anthony Mann.

Review:
This is an interesting type of film noir in the fact that it is shot in a semi-documentary tone that is also loosely based off the crime spree of Erwin "Machine Gun" Walker, who like the character in the film was a former police employee and World War II veteran that committed thefts and burglaries with police in Los Angeles roughly three years before the film was made. In any case, this is a police procedural that does not waste much time in establishing its story along with its choices in how to film it, from the narration that occurs throughout the movie to the cinematography by John Alton (who I previously mentioned in The Big Combo - #934) to the group of police characters (and small supporting cast) that are given focus. Werker (along with an uncredited Anthony Mann) gives fine direction to the movie, delivering tension and violence without overshadowing the story.

Basehart gives the gritty kind of performance for a movie bounding itself in reality and having no sort of frills, and it works quite well in serving its purpose. Brady and Roberts are fairly decent police leads, working the movie in a serviceable way. Bissell does a fine job in making this character feel gullible but not outright annoyingly weaselly. One thing to note is that Jack Webb was inspired by a conversation with Detective Sergeant Mary Wynn (who served as police technical advisor for the movie) to create Dragnet, which is the most notable and most influential police procedural drama that had separate runs on radio and television.  Reed Hadley provides the narration in an uncredited role, and he does a capable job, doing a fair job in making the movie seem accessible. There is a consistent type of pace in this 79-minute movie, where nothing seems over-extended past a logical conclusion nor too short; one highlight is the scene where they attempt to identify the suspect via building a composite, with numerous changes before it is finally finished. The ending scene in the sewers is a riveting finale that has the right balance of sounds, shadows and lights, with Basehart's expressions and movements being quite helpful in seeing the climax to its bitter end (which is not exactly like the events in real life, but no matter). This is a fine little gem that does it by the book and succeeds.

To any readers, I am experimenting with using hyperlinks for anytime a previous review is mentioned. With any luck, this will work out without any problems. Hope you enjoy it.

Overall, I give it 8 out of 10 stars.