THE BEAST OF YUCCA FLATS

Tor Johnson as the Beast

THE BEAST OF YUCCA FLATS (1961). Written and directed by Coleman Francis. Colorized version.

Brilliant scientist Joseph Javorsky (Tor Johnson) is caught in an A-bomb blast in Yucca Flats where he's trying to escape from spies, and is turned into a crazed, incoherent murderer. Cop Jim Archer (Bing Stafford), a former paratrooper, and his partner Joe Dobson (Larry Aten), find the body of one of Javorsky's victims in a cave. When Art Radcliffe's (Alan Francis) two young sons wander into the missile range, he goes looking for them and is mistaken for the deranged killer by Jim, who nearly kills the man. Will Jim and Joe stop the maddened, hulking "beast" before he can kill the missing kids or anyone else?

A rabbit befriends Tor -- sort of 

Less than an hour long, The Beast of Yucca Flats deserves it's reputation as one of the world's worst movies. In a way this is a shame as the film has a workable premise and is not badly shot. (The colorizing process of this version makes the movie look much better than it deserves.) Apparently the sound track was either lost or screwed up (possibly it was filmed silent) as the film is overdubbed, there is little dialogue and way too much pretentious narration. It's hard to judge the acting but the cast seems to consist of amateurs. Tor Johnson of Plan Nine from Outer Space infamy doesn't so much act as lurch around as if he were looking for the nearest bathroom -- or lunch counter. The pre-credit sequence features an odd ticking noise on the soundtrack and suggests that the female victim is raped after being strangled to death. The ending has poor Tor bonding with a rabbit before expiring. The music, culled from stock libraries, is almost always overdone and inappropriate. Johnson managed to amass 52 credits! Writer-director Coleman Francis appeared as an actor in T-Bird Gang. 

Verdict: Even the rabbit can't save it! *1/2. 

THE IRON CLAW

The Iron Claw looms in

THE IRON CLAW (15-chapter Columbia serial/1941). Director: James W. Horne. 

Old reprobate Anton Benson (Forrest Taylor) pretends to be ill in his sprawling mansion and jealousy guards knowledge of a cache of gold that everyone both within and outside of his family wants to get their hands on. Anton is assisted by the butler, Gyves (John Beck), who knows much more about what's going on than he reveals. Other greedy characters include Anton's jailbird brother, Roy (Norman Willis), Anton's daughter, Millie (Edyth Elliott), her husband Simon Leach (Allen Doone), Dr. James Benson (Alex Callam), and others. Anton's brother, Culver (James Metcalfe), is murdered in the first chapter. Gangster Silk Langdon (Charles King) and his cohorts are also after the treasure, as is a mysterious figure known only as the Iron Claw, who sneaks about the mansion's corridors and many secret passages. 

Joyce Bryant and Charles Quigley

Into this merry gathering come Anton's niece, Patricia (Joyce Bryant), reporter Bob Lane (Charles Quigley of Daredevils of the Red Circle), and his photographer, Jack "Flash" Strong (Walter Sande), with the hapless Captain Casey (James C. Morton) along for the ride. Much of the action shifts down to Mexico, where Anton -- and virtually everyone else -- go to find the treasure deep in a mine. The treasure winds up being tossed back and forth between participants while the final chapters take place both around and inside Anton's mansion. During all this the Iron Claw, who never really seems especially scary, seems to become a guest-star in his own serial, as there are far too many players to keep track of. Cliffhangers include explosions, cave-ins, a pit filled with spikes, a room with hot jets of burning steam, and so on, all recorded at a breathless pace. 

Sinister shadow of the Iron Claw

There are times when The Iron Claw resembles nothing so much as a screwball comedy, and there's too much alleged comedy relief. The fight scenes, which occur frequently, can best be described as riotous, with each melee a free-for-all in which lots of furniture is gleefully smashed along with heads and faces. These almost approach the level of the fisticuffs in later serials from Republic. Super-fast-paced and generally entertaining, it's a shame that there is no great copy of The Iron Claw in existence, to my knowledge. A copy in four parts on youtube is better than a copy I have on DVD -- at least you can see what's happening in the night-time sequences -- but there are still gaps, sound distortions, a murky visual quality and so on. The cast is certainly enthusiastic. 

Verdict: Fun, but you might want to wait until this is digitally remastered. **3/4. 

THE LEECH WOMAN (Another view)

Grant Williams and Coleen Gray

THE LEECH WOMAN (1960). Director: Edward Dein. 

Wealthy June Talbot (Coleen Gray) is ten years older than her not-so-adoring husband, Dr. Paul Talbot (Phillip Terry), and his disaffection has driven her to drink. Paul gets an idea to make lots of moola when he encounters Malla (Estelle Hemsley), a native woman who claims to be over 140! Paul importunes June to travel to Africa with him -- along with guide Bertram Garvey (John Van Dreelen) -- so they can discover Malla's secret from her tribe. June discovers the secret -- and how! -- and returns to the States (sans Paul) looking so young and beautiful that she can masquerade as her own niece. She sets her cap for her "aunt's" gorgeous lawyer, Neil Foster (Grant Williams), which sets his fiancee Sally's (Gloria Talbott) teeth on edge. Meanwhile bodies of murdered men are being found in both New York and California ... 

Estelle Helmsley, made up to look even older

The Leech Woman is a fun B movie with an interesting premise that actually could have used another 15 minutes or half an hour to develop the characters and milk the situations further. The picture certainly exploits the universal terror of aging. Coleen Gray gives a vivid lead performance in this, although 73-year-old Estelle Helmsley (mother of comic actor Sherman Helmsley) makes a strong impression as well. (When Malla becomes young and beautiful again she is played by Kim Hamilton.) Phillip Terry, former husband of Joan Crawford, offers an effective portrait of a slimy opportunist. Van Dreelan is fine and Williams [The Incredible Shrinking Man] doesn't have to do much but look dreamy enough to excite the interest of both Sally and June, something the handsome blond easily accomplishes. 

Verdict: One woman's revenge on callous male age-bigots? ***. 

INSURANCE INVESTIGATOR

Audrey Long and Richard Denning

INSURANCE INVESTIGATOR (1951). Director: George Blair. Colorized.

Insurance investigator Tom Davison (Richard Denning) is called in when the head of a real estate company, Sullivan (Roy Gordon), is found dead on the staircase outside his office. His associate, Hammond (John Eldredge), suspects that Sullivan was drinking heavily and had a tragic fall, but Sullivan's daughter, Nancy (Audrey Long), doesn't find this credible. Davison decides to pretend to be Nancy's cousin, and she gets him a job at the real estate office, where he can spy on Hammond and another agent, Addie (Hillary Brooke), who's having an affair with Hammond. Then someone inadvertently steps into an elevator shaft and has a deadly fall ...

Reed Hadley and Roy Barcroft

Insurance Investigator is a $1.99 item from Republic studios, and plays, like many of these B productions, like a TV show. Denning is, as always, a likable player, but he adds absolutely no nuances to his performance and his Tom Davison is no different from his Michael Shayne, Mr. North, or other characters that he's portrayed. Audrey Long is appealing and professional as the (supposedly) grieving daughter who carries on a romance with Davison, or at least tries to. Reed Hadley and Roy Barcroft add a bit of tension to their scenes as the resident bad guys behind a nasty insurance scheme. We're supposed to believe that an unsuspecting person can open the door to the elevator even though the car is on another floor. Well, maybe ... George Blair also directed Exposed. 

Verdict: Even color doesn't add much to this cheapie. *1/2. 

BLOODY MURDER 2: CLOSING CAMP

BLOODY MURDER 2: CLOSING CAMP (2003/Direct-to-Video). Director: Rob Spera.

Five years after the events of Bloody Murder, a new crop of kids have been sent home and the counselors have a couple of days to clean and close up Camp Placid Pines. Tracy (Katy Woodruff) is hoping to discover what happened to her brother Jason, who disappeared after the last killing spree. There's still talk of the maniac Trevor Moorehouse, and still the same doubts about his existence. But someone is again slaughtering the counselors one by one, and Tracy focuses on an unexpected suspect, her boyfriend Mike (Kelly Gunning), who is caught on tape in an incriminating video. But is it really Mike who's behind the gruesome deaths, or could it be Tracy's boss, Rick (Arthur Benjamin) or somebody else? 

Bloody Murder 2 is an improvement over the first installment, as it has better lensing, a much better musical score, and a more interesting cast. Katy Woodruff is at times a bit weak in the lead, but the other performances are generally solid and professional. Bloody Murder 2 is also gorier than the first film, especially the disturbing first murder in which the most likable character, James (Lane Anderson), has his legs severed by a machete (the other "kills" are not as graphic). The movie has some suspense as well, although there is little originality to the story. Tiffany Shepis as Angela and John Colton as the sheriff are especially notable cast members. These two actors had a very many credits aside from BM2. Benjamin and Anderson had only one or two credits in total although both were appealing and adept actors. 

Verdict: A minor-league but creditable slasher flick. **1/2. 

OLD OVERLAND TRAIL

One spiffy cowboy: Rex Allen 

OLD OVERLAND TRAIL (1953). Director: William Witney. 

Cowboy Rex Allen (Rex Allen) finds himself caught in a war between Indians, led by Black Hawk (Leonard Nimoy), and a pack of immigrants who travelled a long distance to settle in the area, Pouring fuel on the fire is slimy John Anchor (Roy Barcroft), who does his best to take advantage of everyone that he can, Indians and settlers alike. Rex' brother, Jim (Gil Herman), is Anchor's partner, and Rex and Jim come to blows when the former realizes that the latter is going along with Anchor's schemes. Then Jim is found dead, and Anchor sends Black Mask and his scouts out to bring back Rex -- as his brother's murderer!

Rex battles a pre-Star Trek Leonard Nimoy

Rex Allen was another handsome Republic Studios cowboy star -- along with Roy Rogers, Allan Lane, Monte Hale and others -- and he was at the time quite popular, and also had his own comic book series for several years. Attractive, competent and personable, Allen didn't quite have the charisma of Rogers, at least in this flick, but he could punch out the bad guys with the best of them. Slim Pickens, also playing himself, was Allen's comical partner in this and many other movies, and Allen had his own "not-so-wondrous" wonder horse in Koko. Gil Herman was another handsome dude who distinguished himself during WW2 service, while Virginia Hall (as Jim's gal pal, Mary) appeared only in this one western and had a few other minor credits.

Gil Herman, Rex Allen, Roy Barcroft

Rex Allen started out as a singer and had a rich baritone voice that reminds one a bit of Bing Crosby. In Old Overland Trail he gives splendid renditions of "Just a Wandrin' Buckeroo," "Cowboy's Dream of Heaven," and others. Rex is backed up by the Republic Rhythm Riders singing group. Directed by serial specialist William Witney, Old Overland Trail has plenty of exciting fisticuffs along with a sequence when Indians circle and attack a wagon train. The two brothers also have a rousing battle. Serial star Marshall Reed appears briefly as a sergeant. Reed and Barcroft both appeared in The James Brothers of Missouri. 

Verdict: With plenty of songs and punches, this is a good example of why Rex Allen became so popular. **3/4. 

SCIENCE FICTION STARS AND HORROR HEROES

SCIENCE FICTION STARS AND HORROR HEROES: Interviews with Actors, Directors, Producers, and Writers of the 1940s through 1960s. Tom Weaver. McFarland; 1991. 

This is another great collection of interviews conducted by Tom Weaver [Attack of the Monster Movie Makers], some of which appeared previously in various magazines. In this collection we look at everyone from Acquanetta of Captive Wild Woman fame to Robb White, who wrote House on Haunted Hill and Homicidal for William Castle. We learn that Noel Neill was rude to Phyllis Coates because Coates was hired first as Lois Lane for the TV Superman after Neill had been in two Superman serials. Yvette Vickers talks about working on Attack of the 50 Foot Woman and Attack of the Giant Leeches. Herk Harvey discusses making his low-budget classic Carnival of Souls, with its spooky amusement park scenes filmed at an abandoned pier called Saltair near Salt Lake. Nancy Kovack of Jason and the Argonauts frankly discusses her disappointment in her career. Interestingly enough, the person who comes off the worst is Richard Matheson, who seems boastful and even implies that he's better or more important than either Poe or Lovecraft! Kim Hunter, Anna Lee, Janet Leigh, composer Albert Glasser, and many others are interviewed in the book, which offers many fascinating behind-the-scenes details of the picture business, especially low-budget filmmaking. 

Verdict: Very worthwhile series of interviews. ***1/2. 

BLOODY MURDER

BLOODY MURDER (2000 Direct-to-Video). Director: Ralph E. Portillo. 

Julie (Jessica Morris) is one of several counselors hired for the summer at Camp Placid Pines. There have always been tales of a maniac named Trevor Moorehouse on the loose, but no solid proof that he ever existed. That doesn't stop murders from occurring with the main suspects either being Jason (Justin Ross Martin) or sinister Dean (Michael Stone), who terrorized an ex-girlfriend who can't swim by dumping her out of their canoe. Julie hears about a man named Nelson who might have murdered a counselor years ago, a man who was known to her father who used to work at the camp. Julie comes to the conclusion that the killer is actually one of the other female counselors, Drew (Crystalle Ford), but on this she may be tragically wrong. Could there also be more than one killer on the loose?

An obvious imitation of Friday the 13th, Bloody Murder has not a dollop of style and not a hell of a lot of suspense, although you may on occasion wonder who the killer is during frequent bouts of boredom. Bloody Murder also has very little gore, making it resemble a 1970's-style made for TV murder mystery. In spite of all this, it generally holds the attention, and an enthusiastic cast helps a bit. This all seems thrown together by shooting bits and pieces and hoping it all adds up to a decent movie, which it really doesn't, although it gets A for Effort. Some of the actors appeared only in this film or one or two others, but Morris, Martin, and Patrick Cavanaugh as Toby managed to wrack up quite a few subsequent credits. Peter Guillemette makes a positive impressive as the attractive boss Patrick, but he only appeared in this one movie. Followed by Bloody Murder 2: Closing Camp. 

Verdict: Stick with Friday the 13th. *1/2. 

CALLING HOMICIDE

Bill Elliott, Myron Healey, James Best

CALLING HOMICIDE (1956). Written and directed by Edward Bernds.

Detective Lt. Andy Doyle (Bill Elliott) goes into action when another cop is killed by a car bomb. The dead man had said he was beginning an investigation but offered no details aside from the name of a woman whose battered body is then found at the bottom of a cliff. This takes Doyle and Det. Sgt. Mike Duncan (Don Haggerty) to a school for models, owned by Allen Gilmore (Thomas Browne Henry of Earth vs. the Flying Saucers) and run by Darlene Adams (Jeanne Cooper), with Tony Fuller (Lyle Talbot) another executive. Doyle is convinced that the seemingly proper modeling agency is just the front for more felonious activity, but also has to ponder which of several people might be behind the murders. Other suspects include Benny (John Dennis), a handyman with the agency; Jim Haddix (Myron Healey of Panther Girl of the Kongo), the ex-boyfriend of the female victim and a former stuntman; and Donna (Kathleen Case) his fiancee and another model.  

Suspects? Thomas Browne Henry, Lyle Talbot, Jeanne Cooper

This is the third of five films starring Bill Elliott as an L. A. police detective. Bernds' flavorful script plays out like an especially good episode of Law and Order (sans the prosecutors) with lots of intriguing developments and twists. A sudden murder in a bar is especially good. The cast, including James Best as another young cop anxious to make an impression, is game, with Talbot particularly notable as the generally drunk Fuller and the ever-reliable Jeanne Cooper saucy as the modeling school operator who knows more than she's telling. Myron Healey also has one of his best roles as the executive who also may have too many secrets. Almira Sessions is fun as a peppery housekeeper who brooks no nonsense, not even from cops. Edward Bernds also directed High School Hellcats and many others. 

Verdict: Like a superior episode of a snappy TV detective show. ***. 

THE BLACK DOLL

Donald Woods

THE BLACK DOLL (1938). Director: Otis Garrett.

Nelson Rood (C. Henry Gordon) discovers a sinister black doll in his study and figures it has something to do with a man he murdered many years ago. He calls his former partners to his lavish estate where he lives with his daughter, Marian (Nan Grey), his sister Laura (Doris Lloyd), her son, Rex (William Lundigan), and the maid Rosita and butler Esteban (Fred Malatesta and Inez Palange). Rood's former partners include Mallison (Addison Richards) and the highly nervous, near-hysterical Walling (John Wray). When Rudd gets a knife thrown in his back, Sheriff Renick (Edgar Kennedy) takes charge of the investigation, but the one who solves the case will be Marion's boyfriend and former private eye, Nick Halstead (Donald Woods of The Lost Volcano).

Nan Grey in a tense moment

The Black Doll is a typical thirties murder mystery with bodies dropping out of closets and the like, stereotypes like the ne-er-do-well nephew who cashes bad checks and the idiotic, dyspeptic police officer, helpless, dumb deputy and so on. As leading man, Donald Woods is pleasant if a trifle bland, but the other performances are all adept enough. I suppose Edgar Kennedy does his comic schtick quite well but it just isn't that funny. Nick seems to come to conclusions without their being a shred of supporting evidence. I confess when the killer is revealed I hadn't the vaguest idea of why he done it. Based on a Crime Club novel that is even more forgotten than this movie.

Verdict: You really won't care who done it. **. 

AGENT FOR H.A.R.M.

AGENT FOR H.A.R.M. (1966). Director: Gerd Oswald.

Biochemist Jan Stefanik (Carl Esmond) is trying to find an antidote to an outer space spore that can reduce infected people to fungus. Basil Malko (Martin Kosleck) also wants the antidote, but his plans also include unleashing the spores on the country's food supply. Adam Chance (Peter Mark Richman), an agent for a group called H.A.R.M., flies out to protect Stefanik in California and do what he can to stop Malko. Stefanik's beautiful niece, Ava (Barbara Bouchet), is by her uncle's side, but he doesn't know that she is secretly working with Malko. Will Adam Chance succeed in preventing Malko from turning everyone in the nation into fungus?

(Peter) Mark Richman and Wendell Corey

Agent for H.A.R.M. was actually a failed pilot that was released to theaters wherein the patrons who paid good money for admission were probably furious to see that this was absolutely nothing like a James Bond movie. Agent actually resembles a mediocre episode of The Man from U.N.C.L.E., which was clearly its primary influence. Aside from a couple of sequences, the movie is played straight without the tongue-in-cheek outre quality of UNCLE, and Richman also plays it with his customary serious intensity and eschews the cool cold war spy approach. Although Kosleck was a good actor, he makes an unimpressive villain in this, more like an annoying little pipsqueak than a Dr. No-type megalomaniac. Wendell Corey is more on the mark as Chance's boss and Bouchet is suitably duplicitous and sexy as the "niece" who's been playing on the wrong side all along. Robert Quarry plays an associate of Malko's as does Rafael Campos.

Verdict: Stick with The Man from U.N.C.L.E. **. 

THE DALTONS' WOMEN

Lash La Rue

THE DALTON'S WOMEN (1950). Director: Thomas Carr.

In the town of Navaho, members of the Dalton gang have seemingly become respectable citizens with new identities. However, they are up to their old tricks of holding up stagecoaches and robbing banks. Into town comes a man that everyone assumes is one of the Daltons, but "Mike Leonard" -- actually Clint Dalton (Jack Holt) -- knows better. He hires this stranger as a dealer in his saloon, suspecting that he's actually the law. Yes, indeed, the stranger is U.S. Marshall Lash La Rue (Lash La Rue), and he and Pinkerton agent Joan Talbot (Pamela Blake) set out to expose and round up the gang with the help of Lash's grizzled old pal Fuzzy Jones (Al St. John).

burlesque in the wild west?

Lash La Rue was a cowboy star who appeared in a great many low-budget productions for poverty row studio, PRC. In spite of this he gained a large following and had his own comic book that lasted until 1960. Although some have noted a resemblance to Humphrey Bogart, La Rue was actually handsomer than Bogie, although his acting range was much more limited. Playing himself in his movies, La Rue always dressed in black and carried a whip which he eventually learned to wield with a certain expertise; he also did his own stunts, which fitted neatly into PRC's budgetary plans. La Rue occasionally had small roles in films for other studios.

Catfight! June Benbow vs. Jacqueline Fontaine

The Dalton's Women throws in everything but the kitchen sink. There are sexy show girls strutting their stuff and doing the can can; a juggler whose act is interrupted by a shooting party; and a songstress named Jacqueline Fontaine (played by Jacqueline Fontaine, who was introduced in this picture). Fontaine delivers two numbers, including the catchy "The Right Kind of Man," in a husky and sensual voice; she knows how to deliver a song. The best scene in the movie has Fontaine involved in a wild, protracted catfight with saloon gal, May (June Benbow) over a character named Honest Hank (Archie Twitchell), who otherwise doesn't really figure in the plot. The catfight, with the two women pulling hair and nearly tearing the clothing off of each other, is one of the longest female-female fight scenes I've seen in any movie!

Tom Neal, Lyle Talbot, J. Farrell MacDoanld

Others in the cast include the ubiquitous Lyle Talbot as an honest businessman, Tom Neal [Jungle Girl] as the dishonest Mayor, J. Farrell MacDonald as the representative of the stagecoach company, Stanley Price [The Invisible Monster] as bad guy Manson, and Tom Tyler [Adventures of Captain Marvel] as Emmett Dalton. Thomas Carr also co-directed the serial Jesse James Rides Again. This really was the first movie for Jacqueline Fontaine, who had thirteen successive credits in B movies like Outlaw Women, A productions such as The Country Girl, and assorted television programs. A "Western Adventure" Production. 

Verdict: If you've always wanted to see a Lash La Rue picture, this is the one to go for. Dig that zesty catfight! **1/2. 

SUDDEN DANGER

Bill Elliott with Beverly Garland in background mirror

SUDDEN DANGER (1955). Director: Hubert Cornfield.

Wallace Curtis (Tom Drake of Date with Disaster), who has been blind since an accident, comes home to discover his mother dead from gas. A note suggests that she wants her son to use the insurance money (from a suicide?) for an operation. Detective Lt. Andy Doyle (Bill Elliott) is suspicious of Curtis, especially when he learns that he supposedly argued with his mother about her paying for his operation, lied about the fact that she caused the accident, and discovering that the suicide note was created on his girlfriend, Phyllis' (Beverly Garland), typewriter. As Curtis wonders if the operation will be a success, Doyle seemingly builds a case against him.

Minerva Urecal and Tom Drake

This is the second and one of the best of former western star Bill Elliott's cop movies, with a good suspenseful script, a good score (Marlin Skiles), sharp cinematography by Ellsworth Fredericks, and solid performances from everyone -- Elliott is professional if not a great actor. Drake makes a sympathetic figure but he doesn't give away his guilt or innocence, and Garland [Twice-Told Tales] is as expressive and credible as ever. Minerva Urecal scores as Curtis' harridan of a landlady, and Dayton Lummis and Helene Stanton [New Orleans Uncensored] are fine as a business executive and his much-younger squeeze, a model. Ellsworth Fredericks also photographed Invasion of the Body Snatchers the following year. 

Verdict: Surprisingly effective little B mystery. ***. 

BLACKMAIL (1947)

William Marshall and Ricardo Cortez

BLACKMAIL (1947). Director: Lesley Selander. 

Ziggy Cranston (Ricardo Cortez) calls in a private eye, Danny Turner (William Marshall), when he is blackmailed by a avaricious gal named Carla (Stephanie Bachelor). When Carla is murdered, Ziggy is less concerned that he might be accused of the crime than that there might be associates of the dead woman who still have the incriminating photographs. This turns out to be true, and one of those associates winds up dead in Ziggy's swimming pool. Thinking Ziggy did the deed, Danny wants no part of murder and calls the police, but when the cops, including Inspector Donaldson (Grant Withers) get there the body has disappeared. Ziggy's gal, Sylvia (Adele Mara), backs up his story that there was no murder and no body, but Danny determines to get to the bottom of things. Along the way he has to contend with casino owner Kellaway (Roy Barcroft of The James Brothers of Missouri), his punch-happy associate, Pinky (Tristram Coffin of King of the Rocket Men), the supposedly French chauffeur Antoine (Richard Fraser of The Tiger Woman), and other nefarious characters before he reveals the true killer at the climax.

"I didn't do it!" Ricardo Cortez and Adele Mara

Blackmail is another bit of film noir from Republic studios featuring many of their contract players. Star William Marshall, who was once married to Ginger Rogers, makes a very convincing movie-type private eye radiating toughness and insolence in equal measure although he isn't given many opportunities to love up the ladies. Cortez plays the part in such a way that you never quite know if he's on the level or making things up as he goes along. Adele Mara is okay if a little bland in this as Cortez' squeeze. The plot is a wild and confusing  concoction that has a few holes in it, although it's entertaining enough and fast-paced. Marshall should have made more of these but this was his only appearance as Danny Turner. Probably the best thing about the movie are the ferocious fistfights which approach the level of the fisticuffs seen in Republic serials.

Verdict: Fast-moving Republic private eye flick. **1/2. 

DANGER ZONE

Virginia Dale and Hugh Beaumont

DANGER ZONE (1951). Produced and directed by William Berke. 

In the first of three movies starring Hugh Beaumont as boat renter and sometime private eye Denny O'Brien working out of Pier 23 in San Francisco, he gets involved in two separate cases (as he does in the subsequent films Roaring City and Pier 23). In the first story a woman at an auction, Claire Underwood (Virginia Dale), importunes Denny to bid for her on a locked suitcase that turns out to contain a saxophone. Claire isn't the only person who wants the sax, there's a dumpy fellow named Dunlap (Ralph Sanford) who's after it as well. Then there's a poor guy named Bud Becker (Don Garner) who wants the instrument simply to play sweet music and winds up poisoned to death. Lt. Bruger (Richard Travis) is convinced that Denny is up to his ears in murder and mischief, but with the help of his pal the professor (Edward Brophy), Denny is able to find out the secret of the sax and the identity of the killer.

Beaumont with Tom Neal

In the second story Denny is hired by another private eye, Edgar Spadely (Tom Neal), to escort a woman, Vicki (Pamela Blake), to a party on a yacht. This turns out to be a trick so that the lady's husband can catch her in a compromising position with a photographer at the ready. Naturally Lt. Bruger suspects Denny of murdering the husband even as Denny fingers Vicki and her accusatory niece, Sheila (Paula Drew), who will inherit all of her uncle's money. Eventually the unsurprising truth comes out. A fast pace is the main asset of Danger Zone, although the first story has a slight bit of suspense to it. Beaumont and Travis are good as the bickering hero and cop, although Denny never comes off like an especially likable character. The women give mediocre performances and aren't very sexy, either. Edward Brophy adds some humor and gives arguably the most notable performance as the tippling professor, who sleeps on a couch in Denny's bedroom. Don Garner is also memorable in his bit as the sick and dying Bud, whose tragic death is barely remarked upon. From Lippert Pictures. 

Verdict: Low-grade film noir. Proof that B movies transitioned into TV shows, in this case literally. **.