AIR PATROL

Willard Parker

AIR PATROL (1962). Director: Maury Dexter. 

A painting worth $350,000 is stolen from a gallery. Since a copter was used in the robbery, Lt. Vern Taylor (Willard Parker of Naked Gun) calls in Sgt. Castle (Robert Dix) of Air Patrol for assistance. Suspects include the gallery owner Murcott (John Holland); his testy secretary, Mona (Merry Anders of The Hypnotic Eye); ex-movie star Millard Nolan, a former owner of the painting (Douglass Dumbrille of King of the Mounties); and a pilot named Dunning (Ivan Bonar). 

Merry Anders

It's a question why Twentieth-Century Fox decided to film this short black and white production in CinemaScope, as the script is distinctly minor-league, like a television pilot for a cop show. However, at least the flick takes advantage of Los Angeles locations, including the Sepulveda Dam and drain tunnels and the Hollywood Bowl. The chase sequence at the end has minimal suspense because none of the good guys or gals are in danger, only the villain of the piece. While the acting is generally good, sometimes the performances give the impression that the actors were handed the script only a few minutes before shooting. Russ Bender of Anatomy of a Psycho is also in the film and plays a cop. Maury Dexter also directed Surf Party. 

Verdict: Acceptable crime drama is nothing special. **1/2. 

20,000 EYES

James Brown and Gene Nelson

20,000 EYES (1961). Produced and directed by Jack Leewood. 

Dan (Gene Nelson) tries to pull a fast one on a mobster named Novak (John Banner) and winds up owing him $100,000 which he pays back in five days -- or else! With the aid of his fiancee, Karen (Merry Anders  of The Hypnotic Eye) and old buddy Jerry (James Brown) -- who used to be Karen's squeeze -- Dan concocts a scheme to steal diamonds from a museum and engineer insurance fraud. But this might prove to be even more difficult to pull off than he imagines. 

Merry Anders with Nelson

20,000 Eyes had possibilities, and the acting is perfectly adept -- former song and dance man Nelson is perfectly fine as the anti-hero -- but this is a super-cheap TV-like production and there isn't enough skill in the direction to make this percolate, let only come to a boil. The storyline is over-familiar as well with few if any twists. The best performance is given by John Banner, who later wound up as Schultz on Hogan's Heroes; he's quite good as the mob boss. 

Verdict: Nelson gives a good account of himself, but this is a tepid melodrama. **. 

THE HYPNOTIC EYE

THE HYPNOTIC EYE (1960). Director: George Blair.

In this sick but entertaining movie, a series of women are horribly disfiguring themselves and then claiming they were completely unaware they were doing so. Could these terrible accidents have something to do with hypnotism? Naturally a detective on the case (Joe Patridge) takes his spunky girlfriend Marcia (Marcia Henderson) to see the act of the sensational Desmond (Jacques Bergerac), who hypnotizes, among others, Marcia's friend, Dodie (Merry Anders), who winds up washing her face in acid later that evening. Brave Marcia decides to find out exactly what happened between Dodie and Desmond, and does a lot more to solve the mystery than her boyfriend. Desmond's assistant is zestily played by Allison Hayes of Attack of the 50 Foot Woman, although her portrayal here makes her giantess seem positively benign. Ghoulish and a bit ugly at times, but an undeniably effective shocker. See if you can spot Henry Aldrich himself, Jimmy Lydon [Corky of Gasoline Alley], in the role of an emergency room doctor; I completely missed him. George Blair also directed The Adventures of Superboy pilot and many B movies. 

Verdict: Compelling shocker. ***. 

WHEN THE CLOCK STRIKES

WHEN THE CLOCK STRIKES (1961). Director: Edward L. Cahn.

The Cady Lodge, owned and run by Cady (Henry Corden), is located not far from a prison. That very night a man, Pierce, is about to be executed, although witness Sam Morgan (James Brown) isn't so sure about his identification of the condemned man. On the road Sam picks up Ellie (Merry Anders of Legacy of Blood), who turns out to be Mrs. Pierce, the wife of the man on death row. Apparently there's $600,000 floating around and both Sam and Ellie want a piece of it -- could the answer be in the condemned man's effects? As the couple conspire, Sheriff Mitchell (Roy Barcroft of G-Men Never Forget) drops by for his usual beer --- and there's two other visitors to the lodge: Martinez (Jorge Moreno), who insists that he killed the man allegedly murdered by the now-dead Pierce; and yet another "Mrs. Pierce" (Peggy Stewart)!

Corden, Brown and Anders

When the Clock Strikes, while illogical at times, certainly has an intriguing premise as well as a few good twists. It's fun to see major serial villain Roy Barcroft playing a good guy for a change. Brown and Anders offer lead performances that are competent but suggest there wasn't much rehearsal time for this very low-budget opus. Edward L. Cahn was the prolific director of seemingly a thousand B movies, including The Four Skulls of Jonathan Drake, Invasion of the Saucer Men, and Voodoo Woman. 

Verdict: Minor but intriguing little mystery movie. **1/2. 

THE WALKING TARGET

Ron Foster

THE WALKING TARGET (1960). Director: Edward L. Cahn. 

"Why would anyone want to live in a cemetery like this -- before they die?" -- Arnie

Nick Harbin (Ron Foster) is released from a five-year spell in prison after a robbery and everyone wants to know what he did with the money, all $260,000 of it. His old girlfriend, Susan (Merry Anders of Legacy of Blood), who has taken up with pal Dave (Robert Christopher), in the interim, is after the loot, as is the crook Arnie Hoffman (Berry Kroeger of Atlantis the Lost Continent), who is working with Dave. The cops would also like to find out where the money is, but Nick's plans are to give at least half of it to Gail (Joan Evans), the widow of the man, Nick's cohort, who was killed fleeing from police. But whatever Nick wants may take a back seat to what Arnie and his nasty buddies have in mind. 

Joan Evans and Ron Foster

The Walking Target is an acceptable if over-familiar crime thriller that features a charismatic lead performance from smooth and good-looking Ron Foster, a frequent player in director Cahn's "B" features. When Susan tells Dave that she is repulsed by Nick's advances, one has to assume she is lying to Dave, as few people would find Ron Foster exactly "repulsive." The other cast members are all on target, with Kroeger impressing with his usual oily and adept delivery. If there's any problem with the movie it's that it's surprisingly slow-paced at times, and it loses steam before a reasonably exciting climax in a diner. 

Verdict: Okay melodrama with a good lead performance and a game supporting cast. **1/2. 

LEGACY OF BLOOD

Bad Hair Day: Faith Domergue and John Russell

LEGACY OF BLOOD (aka Blood Legacy aka Will to Die/1971). Director: Carl Monson.

Christopher Dean (John Carradine), the hateful patriarch of the Dean family, has expired, and the relatives are gathered to hear the reading of the will. Dean's four children -- Greg (Jeff Morrow), Veronica (Faith Domergue), Leslie (Brooke Mills) and Johnny (Richard Davalos), the last two of which have incestuous feelings for one another -- will inherit millions but must spend a week in the family mansion before they can get a dime. Naturally, murders begin to occur, with the first, inexplicably, being that of the sheriff (Rodolfo Acosta). 

Faith Domergue

Legacy of Blood certainly has an interesting cast in that we've got sci fi hero Jeff Morrow [This Island Earth], Howard Hughes discovery and genre actress Faith Domergue [It Came from Beneath the Sea and This Island Earth as well], Dick Davalos of East of Eden, and another genre specialist, Merry Anders [The Hypnotic Eye], playing Morrow's wife. Then we've got TV stars John Smith and John Russell playing, respectively, Leslie's husband and a servant-driver named Frank. The movie is reminiscent of Curse of the Living Corpse, and not only because of the business with a severed head on the kitchen table. 

Faith Domergue and Richard Davalos

Domergue easily gives the best and most convincing performance although the others are credible, given the material. Davalos has some good moments but is a little too overwrought at times. Ivy Bethune makes her mark as the maid, Helga, and she has one very good scene with Davalos, but Brooke Mills and Buck Kartalian (as another servant, Igor, who likes to be whipped) are memorable for all the wrong reasons. The picture has some atmosphere and a slight touch of suspense, and there's an electrocution-in-bed sequence that's effective, but there are too many "twists" and the black comedy aspect of the ending doesn't really work. This may hold your attention but there have been better dysfunctional family/maniac movies.  

Verdict: Low-budget horror flick could have used a little more originality but it has its moments. **1/4.