Scenes That I Love: Steve McCroskey Realizes That He Picked The Wrong Week To Stop Sniffing Glue in Airplane!


Lloyd Bridges was born 111 years ago today.

Lloyd Bridges appeared in a lot of films and TV shows over the course of his long career.  He was the untrustworthy deputy in High Noon, for instance.  He was also the father of actors Jeff and Beau Bridges.  And, of course, he was one of the many Golden Age actors to be recruited to appear in the 1980 film, AirplaneAirplane! was such a success that it launched a whole new career for Bridges, who went from being known for his serious roles to appearing in comedies, where he was often cast as well-meaning but clueless authority figures.

In today’s scene that I love, Lloyd Bridges plays the air traffic supervisor Steve McCroskey, who comes to realize that he picked the wrong week to stop sniffing glue.

Retro Television Reviews: A Tattered Web (dir by Paul Wendkos)


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1971’s A Tattered Web!  It  can be viewed on YouTube!

Sgt. Ed Stagg (Lloyd Bridges) is a good cop and an overprotective father.  Ever since his wife left him, Ed has been determined to make sure that his daughter, Tina (Sallie Shockley), has a good life.  So, as you can probably guess, Ed is not amused when he finds out that Tina’s husband, Steve (Frank Converse), has been cheating on her with Louise Campbell (Anne Helm).  Ed has never liked Steve and would love it if his daughter left him.  But, Ed still doesn’t want want Tina to have to go through the pain of knowing that her husband is seeing another woman.

Ed decides to drop by Louise’s apartment and talk to her himself.  Louise, however, is not willing to let some old stranger tell her how to live her life.  After all, she’s heard from Steve about what a terrible and judgmental father-in-law Ed is.  Ed gets frustrated and shoves Louise.  Louise stumbles back, hits her head, and …. uh-oh.  Louise is dead!  To be honest, it didn’t really look like she hit her head that hard.  In fact, I had to rewatch the scene to see if she actually hit her head at all.  But no matter.  Louise is dead and Ed’s responsible.

The next morning, when Ed and his partner, Joe (Murray Hamilton), are called in to investigate Louise’s homicide, Ed is approached by Louise’s neighbor (John Fiedler), who gives him a description of a  young man who he says he frequently saw going up to Louise’s apartment.  The description perfectly describes Steve.  The police sketch artist draws a picture that looks like just like Steve.  Joe thinks that Steve is responsible.  Not wanting his daughter to think that her husband’s a murderer, Ed decides to frame Willard Edson (Broderick Crawford), an alcoholic who frequently comes into the station and confesses to crimes so that he can have a place to sleep for the night.

Yes, it’s a tattered web indeed.  Ed is able to talk Edson into confessing to the crime but then Steve does his own detective work and realizes that Edson couldn’t be the murderer.  Ed tells Steve that he should just let the police arrest Edson because, otherwise, they’re going to come after Steve.  Steve, however, says that he would rather be arrested and be given a chance to prove his innocence than just stand by idly while an innocent man goes to jail.  Being a veteran cop, Ed wasn’t expecting everyone to be so damn honest!

A Tattered Web isn’t bad for a 70-minute made-for-TV movie.  The film’s main strength is the cast, with Lloyd Bridges, Murray Hamilton, and especially Broderick Crawford giving strong performances.  The scene where Ed talks Edson into confession is especially well-done, with Crawford giving a performance of growing desperation while Bridges himself appears to be on the verge of tears as Ed realizes what his life has become.  Like his sons Jeff and Beau, Lloyd Bridges is such a likable actor that it’s hard not to care about what happens to the characters that he’s playing, even when he’s playing a murderer.  A Tattered Web is an effective thriller that reminds viewers that guilt cannot be escaped.

Retro Television Reviews: Haunts of the Very Rich (dir by Paul Wendkos)


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1972’s Haunt of the Very Rich!  It  can be viewed on YouTube!

The 1972 made-for-TV movie Haunts of the Very Rich opens with a lengthy shot of Lyle (Tony Bill) and Laurie (Donna Mills) sharing a very long kiss.  Obviously, they’re very happy and why shouldn’t they be?  They’re young.  They’re beautiful.  They’re in love.  They’re newly married.  And …. they’re on an airplane!

It’s a private plane, one that’s heading towards a resort called The Portals of Eden.  There’s only a few other people on the plane.  David Woodrough (Lloyd Bridges) is a businessman who is looking forward to spend some time away from his wife, especially if it means a chance to get to know one of the other passengers, Ellen Blunt (Cloris Leachman).  Annette Larner (Anne Francis) is also traveling alone and is hoping she might finally be able to get some sleep without having to take a handful of pills beforehand.  Rev. Fellows (Robert Reed) appears to have lost his faith.  And then there’s Al Hunsicker (Ed Asner).  Hunsicker’s a little bit confused about how he ended up on the airplane.  As far as he knows, he’s supposed to be on his way to a business meeting in Dallas.  Portals of Eden?  Al’s never heard of the place!  Of course, nobody on the plane really seems to be sure where they’re going or how they even got on the plane in the first place.  Strangely, Al appears to be the only one who finds any of this to be strange.

When the plane lands, they discover that the Portals of Eden is a large hotel sitting at the edge of a tropical wilderness.  Their host, the always polite Mr. Seacrist (Moses Gunn), welcomes them but avoids answering anyone’s questions.  Seacrist tells them to enjoy their stay.

For the first day, that’s exactly what everyone does.  They relax.  They indulge in a little pampering.  David gets to know Ellen.  Al is still worried about getting to his business meeting but he is assured that he can always fly out to Dallas the following day.

The night, a violent storm hits.  The next day, everyone wakes up to discover that the resort is nearly deserted.  There’s no electricity.  There’s no way to call out.  There’s not much food.  Seacrist tells them not to worry.  He assures them that help is on the way.  As the guests wait to be rescued, they finally start to wonder just how exactly the ended up at the resort in the first place.  They realize that they’ve almost all had a recent brush with death.  David swears to Ellen that he’ll file for divorce as soon as they get back home but what if they don’t have a home to which to return?  Occasionally, the guests hear a plane flying overhead.  At one point, they even see one land.  But every time, just when it seems like they’re on the verge of finally being rescued, the plane vanishes.

And things just get stranger from there.

If Jean-Paul Sartre had ended up in the United States, writing for The Bold and the Beautiful, the end result would probably look a lot like Haunts of the Very Rich.  Considering that this is a made-for-TV movie from the early 70s, Haunts of the Very Rich is a surprisingly effective and atmospheric little horror film.  The story itself won’t exactly win any points for originality.  You’ll guess the secret of Portals of Eden long before any of the characters in the film.  But still, it’s a well-directed and nicely acted film, one that’s topped off with a suitably surreal (if somewhat abrupt) finale.

Haunts of the Very Rich can currently be found on YouTube and I recommend it for anyone who likes their melodrama served with a side of existential dread.

City of Bad Men (1953, directed by Harmon Jones)


In the year 1897, an outlaw gang led by brothers Brett (Dale Robertson) and Gar (Lloyd Bridges) ride into the frontier town of Carson City, Nevada.  Brett and Gar remember Carson City as being a sleepy town where not much happens but, when they arrive, they discover that a carnival-like atmosphere has broken out in the streets.  A heavyweight fight between “Gentleman Jim” Corbett and Bob Fitzsimmons is scheduled to take place in Carson City and the once sleepy little town has become the center of the old west.

Sheriff Bill Gifford (Hugh Sanders) already knows that he’s going to have his hands full with all of the people coming to town for the fight so he’s not happy to see that Brett and Gar have returned.  When the notorious outlaw Johnny Ringo (Richard Boone) also shows up for the fight, Gifford realizes that he’s going to have to do something unheard of.  He deputizes the three outlaws, assigning them to keep the peace.

Even as deputies, the outlaws scheme to steal the money that’s raised by the fight.  However, Brett is actually more interested in getting back together with his former girlfriend, Linda (Jeanne Crain).  When Gar and Ringo realize that Brett might be backing away from the plan, it leads to a climatic showdown in Carson City.

This B-western tells a semi-true story.  Corbett and Fitzsimmons did fight a match in Carson City in 1897.  The fight lasted for over 90 minutes and ended with an upset victory for Fitzsimmons.  It was the first boxing match to be filmed and it was later released into cinemas as The Corbett-Fitzsimmons Fight.  It was the first film to last over an hour and it is considered to be the first feature film.  It’s also considered to be the first pay-per-view event because the film of the fight made the boxers more money than the fight itself.  The rest of the film is pure fiction.  (The infamous outlaw Johnny Ringo had been dead for five years by the time of the Corbett/Fitzsimmons fight.)  But even if there wasn’t an attempt to rob the Corbett/Fitzsimmons Fight, the use of the actual fight and the publicity surrounding it serves to remind the audience that the modern world is coming to the frontier.

For most, the main appeal of this film will be to see Dale Robertson, Richard Boone, and Lloyd Bridges acting opposite each other.  All three are well known to western fans.  Boone would later star in Have Gun Will Travel while Robertson appeared in Tales of Wells Fargo, Iron Horse, and Death Valley Days.  Lloyd Bridges previously played the resentful deputy in High Noon.  The three of them are in top form in City of Bad Men, with Bridges especially making an impression as the less honest of the two outlaw brothers.  The three of them play outlaws who know that the era of the lawless west is coming to an end and all three of them have to decide whether they want to go straight or if they want to go out with a bang (some more literally than others).  With the fast-paced script and a dedicated cast, City of Bad Men is a film that will be appreciated by anyone who likes a good western tale.

The Love War (1970, directed by George McCowan)


 

Two warring alien races are settling their conflict in California.  Two teams of three have been sent down to Earth.  Though they may appear to be human, their true form is revealed whenever anyone looks at them while wearing a special pair of glasses.  (Yes, just like in They Live.)  Kyle (Lloyd Bridges) is the last surviving member of his team but, even if his side has lost two battles, Kyle is still determined to win the war.

After killing one of his opponents in Los Angeles, Kyle hops on a bus and heads to a small town.  While he’s on the bus, he’s approached by Sandy (Angie Dickinson).  Though Kyle tries to avoid talking to her, Sandy manages to break down his defenses because she’s Angie Dickinson.  If 70s era Angie Dickinson started talking to you on a bus, would you be able to ignore her?  When Kyle reaches his destination and gets off the bus, Sandy decides to follow him.  Even after Kyle explains that he’s an alien and allows her to see his true form, Sandy says that she’s in love with him.  Kyle starts to fall in love with her too but what will he do when the other aliens show up in the town, looking to kill him?

Even though this made-for-TV movie’s 70 minute runtime makes it feel more like an extended episode of The Outer Limits than an actual movie, The Love War makes good use of both its intriguing premise and its two lead actors.  Lloyd Bridges and Angie Dickinson might not be the first two actors who come to mind you think about who could credibly play an alien and the woman in love with him but they both pull it off.  The Love War works because it takes its premise seriously.  I can only imagine how audiences in 1970 reacted the film’s ending, which is hardly typical of the type of feel-good stuff that we usually associate with 70s television.

The Love War has never officially been released on DVD but it can be viewed on YouTube.

Disaster on the Coastliner (1980, directed by Richard C. Sarafian)


A completely computerized passenger train is traveling across the country, with the Vice President’s wife as one of the passengers.  When Jim Waterman (Paul L. Smith), a man who blames the railroad for the death of his family, manages to hijack the train he plans to ram into a locomotive until his demands a met.  He wants railroad president Estes Hill (Raymond Burr) to take responsibility for the crash that killed his wife and children.  With Waterman determined to crash the two trains, it falls to dispatchers Al Mitchell (Lloyd Bridges) and Roy Snyder (E.G. Marshall) to try to figure out a way to stop the collision.  Helping them out on the train is a con artist named Stuart Peters (William Shatner!) who may be wanted by the police but who is still willing to do whatever it takes to save his fellow passengers.

Disaster on the Coastliner is an above-average made-for-TV disaster movie.  Even though it was obviously made for a low-budget and that the majority of the money was probably spent on securing the B-list cast, there are enough shots of the train careening on the tracks to bring happiness to the hearts of most disaster movie fans.  The cast is full of the type of people who you would typically expect to find in a movie like this, people like Raymond Burr, Lloyd Bridges, and William Shatner.  Bridges, interestingly enough, gives the same performance here that he gave in Airplane! and when he starts ranting about how everything’s computerized, he sounds like he could be reciting dialogue from that film.  The only difference is that Airplane! was a comedy while Disaster On The Coastliner is meant to be a drama.  Raymond Burr also does a good job hamming it up as the president of the railroad.  He spends most of the movie sitting behind his desk and looking annoyed, which was pretty typical of Burr in the years after Perry Mason and Ironside. 

For a lot of people, the main appeal of this film will be seeing what William Shatner was doing in between Star Trek movies.  This is a typical early 80s Shatner performance, when he was still trying too hard to win that first Emmy but also when he had just starting to develop the self-awareness necessary to poke fun at his own image.  Shatner really digs into the role of a conman with a heart of gold.  He delivers his lines in his trademark overdramatic style but, in scenes like the one where he sheepishly discovers that a door that he’s been pounding on was unlocked all the time, Shatner actually seems to be in on the joke.  Shatner also did his own stunts in this film, including one where he had stand on top of a speeding train.  In his autobiography, Shatner wrote that he wasn’t even wearing a safety harness in the scene so give it up for Bill Shatner.  That took guts!

Fast-paced and agreeably unpretentious, Disaster On The Coastliner is an enjoyable runaway train movie.

 

When It Comes To Halloween, Should You Trust The IMDb?


Dr. Sam Loomis

Like a lot of people, I enjoy browsing the trivia sections of the IMDb.  While it’s true that a lot of the items are stuff like, “This movie features two people who appeared on a television series set in the Star Trek Universe!,” you still occasionally came across an interesting fact or two.

Of course, sometimes, you just come across something that makes so little sense that you can only assume that it was posted as a joke.  For instance, I was reading the IMDb’s trivia for the original 1978 Halloween and I came across this:

Peter O’Toole, Mel Brooks, Steven Hill, Walter Matthau, Jerry Van Dyke, Lawrence Tierney, Kirk Douglas, John Belushi, Lloyd Bridges, Abe Vigoda, Kris Kristofferson, Sterling Hayden, David Carradine, Dennis Hopper, Charles Napier, Yul Brynner and Edward Bunker were considered for the role of Dr. Sam Loomis.

Now, some of these names make sense.  Despite the fact that Sam Loomis became Donald Pleasence’s signature role, it is still possible to imagine other actors taking the role and perhaps bringing a less neurotic interpretation to the character.

Peter O’Toole as Dr. Loomis?  Okay, I can see that.

Kirk Douglas, Sterling Hayden, Charles Napier, Steve Hill, or Lloyd Bridges as Dr. Loomis?  Actually, I can imagine all of them grimacing through the role.

Walter Matthau?  Well, I guess if you wanted Dr. Loomis to be kind of schlubby….

Abe Vigoda?  Uhmmm, okay.

Dennis Hopper?  That would be interesting.

Mel Brooks?  What?  Wait….

John Belushi?  Okay, stop it!

Dr. Sam Loomis

My point is that I doubt any of these people were considered for the role of Dr. Loomis.  Both director John Carpenter and producer Debra Hill have said that they wanted to cast an English horror actor in the role, as a bit of an homage to the Hammer films of the 60s.  Christopher Lee was offered the role but turned it down, saying that he didn’t care for the script or the low salary.  (Lee later said this was one of the biggest mistakes of his career.)  Peter Cushing’s agent turned down the role, again because of the money.  It’s not clear whether Cushing himself ever saw the script.

To be honest, I could easily Peter Cushing in the role and I could see him making a brilliant Dr. Loomis.  But, ultimately, Donald Pleasence was the perfect (if not the first) choice for the role.  Of course, Pleasence nearly turned down the role as well.  Apparently, it was his daughter, Angela, who changed his mind.  She was an admirer of John Carpenter’s previous film, Assault on Precint 13.  Carpenter has said that he was originally intimidated by Donald Pleasence (the man had played Blofeld, after all) but that Pleasence turned out to be a professional and a gentleman.

Laurie Strode

Of course, Halloween is best known for being the first starring role of Jamie Lee Curtis.  Curtis was actually not Carpenter’s first choice for the role of Laurie Strode.  His first choice was an actress named Annie Lockhart, who was the daughter of June Lockhart.  Carpenter changed his mind when he learned that Jamie was the daughter of Janet Leigh.  Like any great showman, Carpenter understood the importance of publicity and he knew nothing would bring his horror movie more publicity then casting the daughter of the woman whose onscreen death in Psycho left moviegoers nervous about taking a shower.

There was also another future big name who came close to appearing in Halloween.  At the time that she was cast as Lynda, P.J. Soles was dating an up-and-coming actor from Texas named Dennis Quaid.  Quaid was offered the role of Lynda’s doomed boyfriend, Bob but he was already committed to another film.

Not considered for a role was Robert Englund, though the future Freddy Krueger still spent some time on set.  He was hired by Carpenter to help spread around the leaves that would make it appear as if his film was taking place in the October, even though it was filmed in May.

Robert Englund, making May look like October

Interestingly enough, Englund nearly wasn’t need for that job because Halloween was not originally envisioned as taking place on Halloween or any other specific holiday.  When producer Irwin Yablans and financier Moustapha Akkad originally approached Carpenter and Hill to make a movie for them about a psycho stalking three babysitters, they didn’t care when the film was set.  It was only after Carpenter and Hill wrote a script called The Babysitter Muders that it occurred to Yablans that setting the film during Halloween would be good from a marketing standpoint.  Plus Halloween made for a better title than The Babysitter Murders.

And, of course, the rest is history.  Carpenter’s film came to define Halloween and it still remains the standard by which every subsequent slasher movie has been judged.  Would that have happened if the film had been known as The Babysitter Murders and had starred John Belushi?

Sadly, we may never know.

Horror on the Lens: Haunts of the Very Rich (dir by Paul Wendkos)


Today’s horror on the lens is a 1972 made-for-TV movie, Haunts of the Very Rich!

What happens when a bunch of rich people find themselves on an airplane with no memory of how they got there?  Well, first off, they land at a luxury resort!  But what happens when the resort suddenly turns out to be deserted and the guests discover that there’s no apparent way out!?

You can probably already guess the film’s “surprise” ending but Haunts of the Very Rich is still an entertaining little film.  You can check out my more in-depth review here!

Enjoy!

Lisa Cleans Out Her DVR: High Noon (dir by Fred Zinnemann)


(I am currently in the process of cleaning out my DVR!  I recorded the 1952 best picture nominee, High Noon, off of Retroplex on January 28th.  This review is scheduled to posted at 12 noon, central time.  Clever, no?)

High Noon is a testament to the power of simplicity.

It’s a famous film, one that continues to be influential and which is still studied today.  It’s known for being one of the greatest westerns ever made but it’s also a powerful political allegory.  Even people who haven’t seen the film know that High Noon is the moment of the day when someone shows their true character.  Just as everyone knows the plot of Star Wars, regardless of whether they’ve actually watched the film, everyone knows that High Noon is about a town marshal who, after the entire town deserts him, is forced to face down a gang of gunmen on his own.

And yet, it really is a surprisingly simple movie.  It’s the quintessential western, filmed in black-and-white and taking place in the type of frontier town that you would expect to find hiding on the back lot of an old movie studio.  Though wonderfully brought to life by a talented cast, the majority of the characters are familiar western archetypes.

There’s the aging town marshal, a simple man of integrity.  Gary Cooper won an Oscar for playing the role of Will Kane.  When we first see Will, he’s getting married in a frontier courtroom.  All of the town leaders have come to his wedding and all of them wish him luck in the future.  Will is retiring and everyone agrees that the town would never have survived and prospered if not for Will Kane.  After all, Will is the one who captured the notorious outlaw, Frank Miller.  When the news comes that Miller has been pardoned and will be arriving back in town on the noon train, everyone tells Will that he should just leave town and go on his honeymoon.  However, the new marshal will not be arriving for another day and Will is not willing to abandon the town.  However, the town is more than willing to abandon him.

Will’s new wife is Amy Fowler (Grace Kelly).  Amy is a Quaker and a pacifist.  Amy begs Kane to leave town but Kane says that he’s never run from a fight.  Amy tells him that she’ll be leaving on that noon train, with or without him.  Helen Ramirez (Katy Jurado) is the former girlfriend of both Kane and Miller.  She is one of the few people in town to call out everyone else’s cowardice but she is still planning to leave before Miller arrives.  As she explains it to Amy, she would never abandon Kane if he were her man but he’s not her man anymore.

The townspeople, who first appear to be so friendly and honest, soon prove themselves to be cowards.  None of them are willing to stand behind Will.  The Mayor (Thomas Mitchell) publicly castigates Will for staying in town and putting everyone else in danger.  Deputy Harvey Pell (Lloyd Bridges) says that he’ll only help Will if Will recommends him as his replacement.  The town minister (Morgan Farley) is more concerned with why Will was married by the justice of the peace, instead of in the church.  The town judge (Otto Kruger) leaves early, saying he can be a judge in some other town.  One of the few people to show Will any sympathy is the former marshal (Lon Chaney, Jr.) but, unfortunately, he is too old and crippled by arthritis to provide any help.

Though it all, Frank’s gang sits at the train station and waits for Frank to arrive.  One gang member is played be Lee Van Cleef.  He looks really mean!

With a brisk running time of 84 minutes, High Noon unfolds in real time.  Throughout the film, as Kane grows increasingly desperate in his attempt to find anyone brave enough to stand with him, we see clocks in the background of nearly every scene.  We hear the ticking.  We know that both noon and Frank Miller are getting closer and closer.  We know that, soon, Will will have no other option but to stand on the street by himself and defend a town that doesn’t deserve him.

It’s simple but it’s undeniably powerful.

It’s been said that High Noon was meant to be a metaphor for the blacklist.  Frank Miller and his gang were the fascists that, having been defeated in World War II, were now coming back to power.  Will Kane was a stand-in for all the men and women of integrity who found themselves blacklisted.  The townspeople represented the studio execs who refused to challenge the blacklist.  That’s the theory and it’s probably true.  But, honestly, the political metaphor of High Noon works because it can be applied to any situation.  Will Kane is anyone who has ever had to face down the forces of totalitarianism.  He is anyone who has ever had the courage to take a lonely stand while everyone else cowered in the corner.

It’s a powerful metaphor and it’s also a genuinely entertaining movie.  The gunfight is thrilling.  The romance between Will and Amy feels real.  Even the town feels like an actual place, one that has its own history and culture.  It’s a simple film but it’s a great film.

Like a lot of great films, High Noon was nominated for best picture.  And, like a lot of great films, it lost.  In High Noon‘s case, it lost to a film that is almost its exact opposite, The Greatest Show on Earth.  However, Gary Cooper did win an Oscar for his unforgettable performance as Will Kane.

I think we tend to take classic films for granted.  Don’t do that with High Noon.  See it the next chance you get.

The Fabulous Forties #6: Trapped (dir by Richard Fleischer)


220px-Trapped_1949

After being disappointed with Guest In The House, I decided to go ahead and watch the sixth film in Mill Creek’s Fabulous Forties box set and I’m glad that I did.  1949’s Trapped turned out to be an entertaining little discovery.

Much like Port of New York, Trapped opens with documentary footage of the government at work and an official sounding narrator explaining to us that we are about to see a film about the hardworking agents of the Treasury Department.  In fact, the narrator goes on for so long about the Treasury Department that he starts to sound downright worshipful.  There’s nothing that the Treasury Department cannot do!  Who protects the President?  The Treasury Department!  Who tracks down counterfeiters?  The Treasury Department!  Who protects the coast?  The Coast Guard but guess what? The Coast Guard is actually a part of The Treasury Department!  The tone of the narration is so worshipful that it could almost pass for a Scientology recruiting film.  Just as only the Sea Org can protect us from Evil Lord Xenu, only the Treasury Department can stop phony money pushers!

Eventually, the narration ends and the actual movie begins.  Fortunately, the rest of Trapped more than makes up for that awkward introduction.  The film opens with a bunch of Treasury agents looking over a phony twenty-dollar bill.  The bill is almost perfect and the agents believe that it was printed using plates designed by one of the world’s greatest counterfeiters, Tris Stewart (Lloyd Bridges).  The only problem is that Stewart is in prison.  Obviously, someone else has gotten their hands on Stewart’s plates.

Stewart is upset that someone is getting rich off of his work.  So, he strikes a deal with the Treasury Department.  In return for being released, he will help them track down his plates.  The Treasury Department agrees and arranges for Stewart to “escape” during a phony prison break.

However, Stewart has plans of his own.  As soon as he’s out of jail, he knocks out his handler and escapes for real.  Tris is not only planning on tracking down his plates but he’s also going to go back into business printing and passing phony money.  He also reunites with his girlfriend, nightclub hostess Meg Dixon (Barbara Payton).

When he meets Meg, he discovers that she has a new admirer.  Johnny Hackett (John Hoyt) likes to hang out whenever Meg’s working.  Even though Johnny appears to have a thing for Meg, he and Tris still become friends.  Tris is even willing to bring Johnny in on the operation but, what Tris doesn’t realize, is that Johnny Hackett is actually Treasury agent John Downey (John Hoyt)…

Needless to say, violence, betrayal, and death follows.

Shot on location in some of the seediest parts of 1940s Los Angeles, Trapped is a fast-paced and exciting film noir.  (This is one of those films, like The Black Book, where shadows are literally everywhere.)  Lloyd Bridges (who, as a young man, could have passed for Kirk Douglas’s brother) gives a great performance as the charming but ultimately cold-hearted Tris Stewart while John Hoyt does a fairly good job as the conflicted Downey.  Barbara Payton, one of the more tragic figures from Hollywood’s Golden Age, does such a good job as Meg that it’s even more tragic to consider that, just a few years after making Trapped, her career would be destroyed by alcoholism and personal scandal and she would eventually end up as a homeless prostitute on Sunset Boulevard.

Trapped was a good discovery and you can watch it below!