THE CAR

THE CAR (1977). Director: Elliot Silverstein.  

A small California town has its complacency shattered by a series of murderous attacks on its citizens by an automobile that seems to have no driver. Sheriff Wade Parent (James Brolin) is at his wit's end after one of the victims is his boss, Everett Peck (John Marley). It quickly becomes apparent that there is something almost supernatural about this car and its abilities, and the incidents become more vicious and outlandish. Parent may have to accept that this may be something that it will be awfully hard to fight ... 

James Brolin and Ronny Cox

While I would have preferred that there be a human antagonist behind the actions of the car -- James Bond films have already shown that some autos can do amazing things and remote control cars have been featured in such shows as Science Fiction Theater -- but The Car has a more demonic slant, which, fortunately, doesn't decrease its suspenseful and entertaining quotient in the least, although some might find it way too farfetched. The screenplay presents fully realized characters, mostly decent people up against a formidable and inexplicable enemy. The acting is generally good, with Kathleen Lloyd as Wade's ill-fated girlfriend, Elizabeth Thompson as her co-worker, Doris Dowling (of The Crimson Key) as a victim of spousal abuse, and John Rubinstein as an early victim of the car. Leonard Rosenman has contributed a chilling score, and there is top-notch widescreen photography from Gerald Hirschfield. Director Silverstein was mostly a television director, but his other theatrical films include Cat Ballou. He knocked one out of the ballpark with The Car. 

Verdict: Quite memorable and unusual horror film. ***1/4. 

THE CRIMSON KEY

Kent Taylor

THE CRIMSON KEY (1947). Director: Eugene Forde. 

Larry Morgan (Kent Taylor) is a none-too-successful private eye -- he still owes his secretary Daisy (Vera Marshe) several weeks of back salary -- who finds a much-needed client in Mrs. Swann (Bernadene Hayes). Mrs. Swann has sensed a distraction in her husband, Dr. Swann (Douglas Evans), and wants Larry to find out if he's seeing another woman or if it's something else. In rapid order, both Swann and his wife are soon murdered, but Larry decides to earn his retainer anyway and keep investigating. Riiiight. 

Doris Dowling and Kent Taylor

This brings him into contact with a number of suspects: entertainer Paris Wood (Ann Doran); her fiance Jeffrey Regan (Edwin Rand); artist Peter Vandaman (Ivan Triesault);  Dr. Swann's adoring assistant Miss Phillips (Victoria Horne); psychic psychiatrist Huntley G. Harlow (Milton Parsons of The Hidden Hand); his seductive confederate, Heidi (Louise Currie); the jealous Steven Loring (Dennis Hoey); and his attractive, dipsomaniac wife, Margaret (Doris Dowling). Everything seems to center on a key that was in the possession of the Swanns and may have secret information inside a locker. Larry has the usual love-hate relationship with the cop on the case, Captain Fitzroy (Arthur Space of 20 Million Miles to Earth). 

Dennis Hoey, Kent Taylor and Arthur Space

When Larry and his secretary learn that Dr. Swann has been murdered they express absolutely no sympathy for either him or his widow -- only dismay over the loss of a paying client -- so it is out of character for Larry to want to keep investigating just because the now-dead woman paid him several hundred dollars -- he would just go out and drink and let the cops do their job, which is what he first suggests to Mrs. Swann before her own murder. A bigger problem with the movie is that despite its complicated plot (with all the familiar elements of the genre) and relatively fast pace, it's so talky and dull. Taylor and the other actors -- especially Doris Dowling -- turn in perfectly good performances, but despite a satisfying conclusion this just doesn't work. The lack of a strong musical score is a another major deficit. 

Verdict: Private eye movie from 20th Century-Fox that never really catches fire. **.