The adventures of a professional screenwriter and sometimes film festival jurist, slogging through the trenches of Hollywood, writing movies that you have never heard of, and getting no respect. Voted #10 - Best Blogs For Screenwriters - Bachelor's Degree
Here's another bit of advice from Hitchcock while I get some writing done...
- Bill
Of course, I have my own books focusing on Hitchcock...
HITCHCOCK: MASTERING SUSPENSE
LEARN SUSPENSE FROM THE MASTER!
Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!
We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?
Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.
Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.
The spider web fills the screen, it's Boris Karloff's THRILLER!
Season: 1, Episode: 7. Airdate: 10/25/60
Director: Douglas Heyes Writer: Douglas Heyes Cast: Rip Torn, Richard Anderson, Patricia Barry. Music: Pete Rugolo Cinematography: Bud Thackery
Boris Karloff’s Introduction: “Don’t be alarmed. The woman who just screamed is perfectly quiet now, as sure as my name is Boris Karloff. You see, she’s been dead for nearly a hundred years. Her bed is empty, and whatever it was that seemed to frighten her so is gone. *Seems* to be. But I can tell you this much: that bed won’t be empty much longer and other screams will soon be heard. Whose? Perhaps yours. Or those who will join us here: Mr. Rip Torn, Miss Patricia Barry, Mr. Richard Anderson, and... Well, it seems the rest of our cast can not be raised. They’re dead, you know. Spend a night with us in the Purple Room, if you dare! Let me assure you my friends, this is a thriller!”
Synopsis: Born skeptic Duncan (an impossibly young Rip Torn... who you know as the gruff boss from MEN IN BLACK) has just inherited an old house in Baton Rouge which has been in the family for years... and is supposedly haunted. Duncan doesn’t care, the house is on valuable property some big company wants to buy so he figures he’ll flip it and make a fortune. Nice plan, but the will requires him to live in the house for one year before he can sell it... and stay in the house one full night along with the other heir... his cousin Oliver (Richard Anderson from SIX MILLION DOLLAR MAN) and his wife Rachel (Patricia Barry). If he can not spend the full night in the haunted house his cousin Oliver gets it. So there’s a bit of a competition involved: who can stay the whole night in the house, Duncan or Oliver? Since Duncan believes in money but not ghosts, he sees no possibility of losing.
Oliver, Rachel and Duncan drive to the house, in a remote area near a swamp... heck, it’s the PSYCHO house on the Universal backlot along with the swamp from the film... the art of using existing sets. They enter the house, which has no electricity and no phone and hasn’t been lived in for decades. Candles do little to illuminate the house. It’s spooky as heck. They climb the stairway to the bedrooms, and Oliver dares Duncan to sleep in the Purple Room... where all of the deaths have taken place including that most recent one 100 years ago. Duncan isn’t afraid of no ghosts, so he takes the room, even after Oliver relates the legend of the room...
A hundred years ago Captain Jeremy Ransom and his wife of only seven days were alone in the house on honeymoon, when they heard strange sounds from downstairs. Ransom gave his gun to his new bride for protection and then went downstairs to investigate. After more strange noises, the new bride hears footsteps coming up the stairs... a strange shuffling and dragging that was *not* her husband. As the thing came closer and closer to her in the darkness, she fired the gun again and again... killing her own husband... who had been stabbed by a burglar downstairs and was staggering upstairs for help. Then she went mad and spent the rest of her life in an asylum.
Oliver smiles: “This place is all yours... and everything it contains.”
In the middle of the night Duncan hears strange noises from downstairs and wakes up. After he lights the candle, it blows out... and all kinds of weird things begin happening in the Purple Room. Things move all by themselves. Duncan believes it’s Oliver and his wife trying to scare him, they’ve just rigged the room ahead of time. When things keep happening and he sees a picture on the wall move, he pulls the picture away... and there is just the wall behind it. The *solid* wall. WTF? He hears more noises downstairs, grabs his gun and heads downstairs.
Where something lurks in the shadows.
A knife flies at him, sticking into the floor.
The thing in the shadows moans and starts shuffling towards him. It’s Ransom’s ghost! Face rotted, knife sticking from its bloody chest. Dragging its leg as it gets closer and closer and closer to him. Duncan fires his pistol at it again and again and again... and the things keeps coming towards him!
Closer and closer and closer!
Duncan screams, clutches his chest and falls to the floor.
The rotting corpse walks right up to him... and pulls off his mask, it’s Oliver. Rachel comes out of the shadows and checks his pulse... he’s *dead*. Not part of the plan at all! They were just supposed to scare him enough that he left the house, not *kill him*. Change of plans. They carry his body out to the car, drive down the road to the swamp and drive the car off the road into the swamp, put Duncan behind the wheel, and walk back to the house. Now they can claim that Duncan got scared in the middle of the night and ran... and Oliver and Rachel had not a thing to do with his death.
Back at the house they clean up and remove all of the planted tricks and devices to scare Duncan... and then go to bed in the Purple Room. It *is* the master bedroom in *their* new house, after all. But in the middle of the night they hear strange noises from downstairs. A prowler? Oliver grabs Duncan’s gun, pours out the expended blank shells and loads it with *real* shells, then starts out of the Purple Room. But Rachel is frightened, so Oliver gives her the gun and goes downstairs to confront the prowler.
In the dark and spooky house, Oliver tries not to be afraid... but some *thing* is creeping up the stairs towards him, dragging its leg just like the Captain Ransom legend. When the thing gets closer, closer, CLOSER Oliver stumbles and falls down the stairs... the thing continues up the stairs... to the Purple Room!
Rachel is terrified as the thing opens the bedroom door and stumbles inside. She fires the gun, again and again until it clicks dry. Killing the thing. She carries the candle to the thing... and it’s *Duncan*. Not a fatal heart attack after all, he was unconscious and weak... And she has shot him six times. She goes downstairs and finds Oliver, shook up but okay. Tells him that she has shot Duncan... and that’s when the police come after finding the abandoned car and hearing the shots. Oliver and Rachel are headed to prison.
Review: Not only do we get the PSYCHO house and swamp, we get a great Weird Tales type story! After last week’s talky crime drama, the show finally seems to get on track with an episode that fulfills the promise of the series’ name. My favorite episodes of the show are thrillers filled with nail biting suspense and the Weird Tales stories that creep into horror (though usually with a twist). I want to be on the edge of my seat or scared to death, and my favorite episodes deliver on this. Though nothing from THRILLER can ever beat the Hitchcock UNLOCKED WINDOW episode for sheer terror, some get pretty close.
This one is just okay. Not enough Haunted House stuff to build our terror before Duncan comes face to face with dead Captain Ransom downstairs, it needed several more “gags” up in the Purple Room when Duncan wakes up. Since Oliver and Rachel have had plenty of time to rig the room, you’d thing they would have come up with at least as many things as in THE HOUSE ON HAUNTED HILL. I’m guessing somewhere along the line the writer/director feared there wasn’t enough time to show *how* Oliver managed to do anything really weird after Duncan supposedly drops dead. But I think the audience would have gone with it, since we went with the blown out candle gag and the moving painting with a solid wall behind it. He should have gone whole hog and had all kinds of weird stuff happening in the Purple Room. Remember, this was made at a time when film special effects where often done with thread and smoke and mirrors. The audience would accept any crazy thing happening in the room, because they really had to do it for the episode. If the writer/director thought the audience might have questioned a bunch of weird stuff, all he had to do is have Oliver say he apprenticed under a magician when he was a kid or something.
The *direction* is also not doing much to ramp up the suspense and dread. Lots of great moving camera shots, but makes the mistake of not showing the POV of the protagonist, which is where all of the suspense and dread resides. I don't understand how there can be directors out there who don't get this, but in my blog entry on THE THING prequel I noted that was the big problem with the film... and used an example of how to do it right from DIABOLIQUE. Other THRILLER episodes have some great direction that really adds suspense and dread. Ida Lupino directed a bunch of episodes and hers are awesome. That woman knew what to do with a camera! Most of the creepy stuff here is done by keeping things bathed in shadows, and that *does* work a little.
The best thing about the episode is the great twist where Oliver and Rachel’s attempt to fool Duncan into believing the Captain Ransom ghost haunts the house mostly backfires... but then they replicate the legend without thinking when they hear the noises downstairs. Oliver gives her the gun the same way Ransom gave his bride the gun a hundred years earlier. Love the irony! That’s what we expect from a Weird Tales type story, the scheme bites the schemers on the ass!
Weird Tales this week, edge of the seat thriller next week!
Yesterday was my late Mother's birthday, so this seems like a good time to rerun this...
When I was a little kid, my mother would always get compliments from other
people on how well behaved my brother and sister and I were. When we were in
public we never raised our voices, let alone ran around and roughhoused. We
stood in a straight line. We didn’t touch things that were not ours. We might
fight like cats and dogs at home, but in public we never pushed each other or
hit each other or even raised our voices. My parents raised us well and lead by
example. We did unto others as we would have them do unto us. None of this had
anything to do with religion or threats of being whipped with a belt - it was
just good behavior. When we were out in public, we had a code of conduct to
follow.
Back then I believe most kids had a code of conduct to follow
when they were out in public. I know our friends the Holloway kids did... though
I don’t remember them standing in a straight line - that may have just been
something my mom came up with. Though some kids were little hellions, most
behaved when in public. That’s what was expected of kids at the time. We always
said “please” and “thank you” and “excuse me” and “may I be excused” when we had
finished dinner. We had to ask permission before doing anything unusual - and if
all of this sounds like we were some sort of Stepford Kids, nothing could be
farther from the truth. We built forts and dug fox holes to play army and often
played in the forbidden creek behind the house if mom was busy doing something
and we didn’t think we’d get caught. We were normal kids, who had some manners
and did unto others...
The mind set of doing unto others and
considering other people has stuck with me into adulthood. So has saying
“please” and “thank you”. When I’m working in a coffee shop and they put my
drink on the counter, I always say “thank you” even if I am across the room
plugging in the laptop. It’s only polite. And this got me thinking about all of
the things that I do that are traces of those childhood lessons in being polite.
1) I always say “please” and “thank you” and “you’re welcome”.
2)
I always try to have a genuine smile for people. I hate those plastered on fake
smiles, and I have been guilty of wearing them every now and then. When I smile
at people, 99% of the time I mean it. I also try to be positive - and trust
people and be nice to people as my default. I know people who start out
suspicious and angry, I don't want to be one of those people.
3) I clean up after myself - I always try to leave things where and as I
found them. If I am in the grocery store and decide not to buy something in my
cart, I take it back to the shelf where I found it and even face it and make it
look pretty - because that's probably what it looked like when I grabbed it. If
it didn't look like that? I'm leaving the world in better shape than I found it.
That's the goal whether it's a grocery store or an interaction with a
stranger.
4) When I’m at a stop light, I always look *both* ways
before turning right or pulling out. I also look both ways before crossing a
street - or doing just about anything. Always good to know what's around you -
instead of not caring.
5) Probably because I’m often on a bicycle, I
stop my car behind the limit line, not in the middle of the cross walk. You
know, that extra foot doesn’t get me there any faster. When I'm driving, I go
with the flow of traffic - rather than race to the next stop light. Oddly, I get
there the same time as the car that races through traffic.
6) When
squeezing past someone or crossing in front of their sight line or any number of
other things, I say either “excuse me” or “pardon me”. Since many people in Los
Angeles speak Spanish as their primary language, I usually say “pardon me”
because I think it is easier for everyone to understand. I don’t say “pardon me”
for me, I say it to be polite to others.
7) I park within the lines,
and as straight as possible. This means it may take me an extra minute to
position my car - but that makes it easier for people parked on either side to
open their doors and pull their cars out of their parking spot.
8)
When I am paying at a cash register, I make sure my money is faced when I hand
it to the clerk. When I worked retail I had to face my money at the end of the
day, so I know what a pain it is to get a wad of messy money. It takes a second
to put all of the bills face up and rightside up before handing it to the
clerk.
9) I look before moving. If I’m going to take a step to the
side or a step back, I look at the spot where I’m moving to *before* moving so
that I don’t step on anyone. Saves me from having someone else's coffee on my
clothes.
10) I am patient. Okay, not always - never at the post
office - but I try to be patient most of the time. Whether I’m in a rush or not
will not change how fast things happen or how fast other people move. Better to
just take it easy.
11) By the time I get to the front of the line, I
am completely ready to order. I know exactly what I want, and the answer to any
of the normal question I might be asked (“Soup or salad?” “Do you want fries
with that?” “Room for cream?”) I don’t want to waste the time of the people
behind the counter or the people behind me because I am not prepared. By the
time I stand in line, I know exactly what I want.
12) When I am
walking on the sidewalk, I walk on the right side (or the left side) - never in
the center. If the people in front of me are walking on the left side, I walk on
the left side... so I'm not creating a maze for people walking towards me.
Everyone moving in the same direction should be walking on the same side of the
sidewalk. I want to make it easy for people behind me to pass me, and people
coming in the opposite direction to get around me. It's interesting that about a third of the people I see when I am walking somewhere also walk on the side of the sidewalk... they had mothers, too!
13) When I step
off and escalator or through a door I continue to walk several steps to make
sure I am not blocking people behind me. I usually keep walking and survey my
surroundings to see where I want to go, rather than stop and look around. That
way I’m not holding up traffic. I really don't understand why you would come to a complete stop at the bottom or top of the escalator... you are blocking those behind you.
14) When I am next in a check out
line, I have money in my hand as well as a selection of change, so that nobody
has to wait for me to dig into my pocket to find that nickle. I’m *prepared* to
pay for my purchases. Oh, and because I’m strange, I often add up my items in my
mind and figure in tax and have a pretty good estimate of what the total is
going to be. I’m usually within a dollar either way, and that helps me know what
kind of bills I should have in my hand when I get to the checkstand.
15) If I’m talking on my cell phone in public, I try to use a quiet
voice or go outside - I don’t want to bother other people with my
conversation... and I kind of like privacy.
16) I try not to kick a
man when he’s down. Once I’ve made my point, I back off. Though I’m sure I’ve
kept hammering away at somebody a few times on message boards, I usually back
off. Also, when someone has a bad day, I don’t make it worse... even if I hate
them and my evil side would love to destroy them. It’s not fair.
17)
I always go to the restroom or go outside to blow my nose. It’s gross to do it
somewhere people are watching or listening... let alone trying to eat a meal.
18)
I gauge traffic when I am merging, and pull out in an opening with enough
distance between the car in front and in back of me... and at the same speed
they are going. I don't stop to merge - that's silly. I don’t want to cause
anyone to jamb on their brakes or have to swerve - I want it to be a smooth
blend of my car into the stream of traffic.
19) If I am walking with
friends on the sidewalk and others approach us in the opposite direction, I step
behind or in front of my friend(s) so that we are walking single-file, allowing
those walking towards us half of the sidewalk to pass us. This isn’t always easy
- I have some friends who don’t get it, and if I fall back, so do they.
20)
When I’m wrong, I apologize, and I mean it.
21) My cell phone ringer
is either set low or on vibrate - the rest of the world doesn’t have to know my
phone is ringing, and I really don’t care if you hear my cool ringtone or not
(it’s the Peter Gunn theme - which is used in a bunch of commercials, and I
often reach for my phone when it’s just a Chase Bank commercial on TV.)
22)
I don’t block other people in an aisle or a store or a walkway or anyplace else
- and I try not to stand in front of things other people might want access to. Part of that is just knowing what you want. The time for me to figure out what I want is not when I am holding up others or getting in their way.
23) If I make a mistake more than once, I try to make sure I don’t
make it a third time. You are supposed to learn from your mistakes, not keep
making them over and over again. Sometimes, if it’s some sort of bad habit, I
find some way to punish myself if I keep doing it. I’m too old to have my mom
spank me, so sometimes I have to spank myself. Not literally. But I do not
reward myself for failure or making mistakes - I take away some pleasure until I
stop screwing up.
24) I do not talk on my cell phone when I get to
the front of a line - that’s when I need to be focusing on paying or ordering or
talking with the person on the other side of the counter. It’s rude to the
person behind the counter, it's rude to the person on the phone, and rude to the
people standing behind me when I fumble through trying to hold two conversations
at once. This is just prioritizing. What am I standing in line at the grocery store to do? Talk on my phone or buy groceries?
25) In the grocery store, I push my cart down the right side
of the aisle, and either stay on that right side when grabbing items off the
shelves or move far enough away from my cart that I am not blocking both sides
of the aisle - one side with my cart and one side with me shopping. I always
leave half the aisle empty so that other people with carts can get past me. That just seems like common sense. People need to be able to get past me, right?
26) If I am crossing a street as a pedestrian (or just walking
across a parking lot entrance) I look at traffic in all directions - some times
it’s easier to wait for one car to pass even though I have the right of way. If
I have to wait a minute so that things run smoother for everyone else, no big
deal. And if cars are waiting for me to cross the street, I walk *fast* - I
don’t take my time when I’m also taking other people’s time. The same thing if I
am in my car: sometimes things will move faster if I let the other car go first.
My little red sportscar has well over 100,000 miles on it, and I have honked the horn maybe a
dozen times. When I am out in the world, it's all about what works best for the
world, not what works best for me. Oh, and I always use my turn signal. Always.
Even in parking lots. If other drivers know what I am doing, easier for them.
27) I try to be aware of everyone around me
and stay out of people’s way. If I’m blocking a bunch of people from getting
where they want to go because I’ve got my head in the clouds thinking about
something or talking on the phone or whatever - I’m holding up the whole danged
world!
28) When I pick a table at a restaurant or a coffee shop, I
try not to pick one that would be of better use to someone else - I’m one
person, so I don’t take a large table that might be better used by a family or a
group, I don’t take a table designed for handicapped access or might be more
convenient for an elderly person. Sometimes these are the only tables available,
so I have no choice - but I always think about others when I select a table. Why not?
29)
If I’m walking in a shopping mall or hallway or sidewalk and need to stop, I
move to the side (near the wall) and *then* stop, so that I am not suddenly
stopping in front of someone and am out of the way *before* I slow down or
stop.
30) I try to help people whenever possible - not because of
some sort of karma thing where what goes around will come around back to me
(that would be nice, but I’m not sure that’s really how the world works), but
just because it usually takes the same amount of effort to help people as to put
them down or even ignore them. There are all kinds of people who seem to go out
of their way to be mean or dismissive to people - and that’s a lot of work just
to be negative. Usually it takes the same amount of work to help people - and
that makes the world a little better. I don’t go out of my way looking for
people to help, I just help anyone whose path crosses mine. That may be holding
the door open for someone with their arms full or answering a question on a
message board I visit or helping somebody find something if I know where it is
(a street, a business, or even an item in the store). Most of these are silly
little things that are part of our day-to-day lives, but my “default setting” is
helpful. One of those things I learned from my mom.
By the way,
I think one of the reasons why my brother and sister and I were so well behaved
in public is that my mom encouraged us to *think about playing* and imagine what
we would do when we got home and were allowed to run around in the yard and have
fun. Or think about our toys and hobbies (my brother and I would think about Hot
Wheels, my sister would think about Barbies - Mattel Toys won either way). Or
think about our favorite televison shows or the book we were reading. We would
sort of play in our minds... and entertain ourselves. No need to be little
hellions in the grocery store. Those good manners, and thinking of others as
well as ourselves, have stuck with me from childhood into adulthood.
(This was going to be called "Compusive Manners" but that didn't
have the same ring to it.)
Kino-Lorber released a Blue-Ray of this film in August of 2021, so let's take a look at it, shall we?
Directed by: Burt Topper. Written by: John Millius (THE WIND AND THE LION), Willard Huyck (AMERICAN GRAFFITI), Larry Gordon (48 HOURS), and James Gordon White (THE INCREDIBLE TWO HEADED TRANSPLANT *and* THE THING WITH TWO HEADS). Starring: Christopher George, Ross Hagen, Fabian, Leslie Parrish, screenwriter Larry Bishop, Robert DoQui, Ron Riflkin (with hair!). Produced by: Jack W. Cash. Cinematography by: Richard C. Glouner (PAYDAY). Music by: Michael Lloyd & Jerry Styner.
You may think that The Asylum Studios created the "mockbuster" movie like THE DAY THE EARTH STOPPED (which means it stood still) and many many others like I AM OMEGA (I AM LEGEND and OMEGA MAN), but coming up with a cheap knock off of a big budget studio film is nothing new in this business, and probably goes back to the silent era. So we are going to kill a couple of birds with the same stone in this entry and look at a B movie knockoff of THE DIRTY DOZEN which also happens to be ground zero for a bunch of screenwriters who would become very famous in five years and a co-star who has been in a couple of movies that I have written, and is one of those charismatic B actors who can take some stupid line that I wrote and deliver it as if it were Shakespeare and make me look good. I saw this film on the big screen at the New Beverly Cinema on a doubke bill with one of my favorite films, THE WIND AND THE LION, a few years back...
THE DEVILS 8 begins with a great opening scene, very much like the opening of 48 HOURS, chain gang somewhere in the South with prisoners doing backbreaking work (though, none of it made much sense - one guys was breaking rocks and another guy was throwing them in a lake! One guy was just sawing boards. But its was all hard work stuff) - then a fight breaks out between prisoners: one of them is our star Christopher George from RAT PATROL. Just like in 48 HOURS, the fight is a way for the prisoners to overpower the guards and escape. George grabs a bunch of prisoners - 8 of them - and says he has an escape route. They run through the woods, coming out at a clearing... where a huge helicopter lands! There are *military guys* with guns in the helicopter! George tells the guys not to worry - this is part of the plan. What plan?
Cool flashback to George and some hottie making out in a car when his carphone rings (when this film was made, that was sci-fi or James Bond) and it’s a mission. George has to stop making out and go to do some spy work. In this case - it’s breaking up a huge moonshine operation run by this GODFATHER-like guy named Burl, played by some fat old guy. Seems that Burl’s organization has Senators and Congressmen and Police and maybe even FBI guys on his payroll. He’s a big fish, and George is supposed to find some way to take him down.
We get out of the flashback in another cool screen-bending dissolve...
STRUCTURE FAILURE
And here’s where we begin to run into trouble. Because DEVILS 8 has some serious structure problems. Because it’s a knock off of THE DIRTY DOZEN, it kind of steals the way that film worked - where about half of the film is training a bunch of anti-authority criminals to become good enough soldiers to complete the mission... and all of the conflicts involved in having a dozen guys with bad attitudes who hate each other living under the same roof. Then, the last half is the mission against the Nazis - and how it goes wrong but they still manage to blow the hell out of the place. Okay, that works for DIRTY DOZEN because the mission is complicated and the guys are a major challenge to train. But in DEVILS, even though the guys are escaped prisoners and have all kinds of conflict with each other - including racial: Henry (Robert DoQui) is pretty much hated by everyone because he’s black - there isn’t a single psycho like Telly Savalas or a real hardcase like John Cassavetes. These 8 convicts may all be lifers, but they are reasonable guys. So the conflict between them is not as intense as it is in DOZEN. Plus, the training is, well, mostly lame. They wrestle. All at once. No one is trained in karate or something, they just all wrestle. They learn to shoot guns, but it’s kind of boring target practice without any tension. They learn to drive crappy cars through a slalom course of cones - wow! Though there are some car wrecks here that really help this section of the film - there aren’t enough crashes and they aren’t very cool and they aren’t *story related*. Just a car crashing in the middle of nowhere.
This half of the movie ends with some crazy stuff - throwing grenades out of cars for no apparent reason. Well, actually, by the end of the film they will have to do this, but in the training camp it makes no sense. And there isn’t any clear set up in this that pays off in that later scene - it’s just a scene where they get to blow up garbage cans with grenades - kind of false action.
They really needed to create conflicts between team members and milk them during the training scenes. This is usually where I bring up the large cast of characters in ALIENS and how we knew each one of them and they were *paired* in the story with the person they had the most conflict with. to keep even the small scenes full of conflict and drama and create arcs for each character... and that doesn't happen here. If they had done that, and then had some *real* hand to hand combat training instead of wrestling and some more interesting target practice (maybe some practice storming a house) and other things that could become very dangerous if your partner wanted to kill or eff you up, the first half of the film would have been entertaining (instead of a slog). Look for the *personal conflicts* in your story and pair up characters!
After their training is over, they go out to somewhere in the South where Burl’s moonshine gang rules the roads.
ROSS HAGEN - THIEF
And here’s the crazy part about this film - the star is Christopher George from RAT PATROL, but the great role in the film - the “lead” in a way - is Ross Hagen playing Frank Davis, ex-moonshine runner and ex-member of Burl’s Gang. Part of this may be Ross acting the hell out of his role, and part of it is that this is the most interesting character in the film once we get to moonshine country. Though Frank was an important character in the training scenes, when we get the ex-gang member back into gang country he becomes the center of the conflict. Ross (who passed away in 2011) was in a couple of films I’ve written, and was one of those actors that can turn the line “How are you?” into two dozen different things - he came to the show with interesting line readings you’d never considered or ever knew existed. He was a great actor for low budget movies because you just hire him and he gives a good performance. He had a bunch of low budget films and a whole bunch of TV guest star stuff on his resume...
But in DEVILS 8 he steals the film from Christopher George.
Steals it from the star.
In order to get him to work against his old gang, George tells him that it wasn’t cops who killed his brother, it was Burl. Now, we don’t know if that’s true or not at that point, and that’s a good technique to use in a script because it turns one moment into several moments. He tells Frank (Ross) that Burl killed his brother, and Frank has to deal with being betrayed by his own gang. Then Frank wonders if George lied to him in order to get him to work against his own gang - and there are some mistrust moments. Once they get to town, Frank discovers that Burl *did* kill his brother, and this confirmation takes us back to Frank feeling betrayed... and then angry... and then grabbing a weapon and going after Burl! Which will blow the whole operation!
George’s plan to take down Burl doesn’t make any sense, but here it is: The 8 are going to hijack whisky shipments until Burl comes to them and makes a deal that they should work together, and show them where the stills are, and tell them who all of the crooked cops and politicians are. Wouldn’t it be easier for Burl to just kill them all? Oddly enough, the plan works...
A couple of scenes later, Frank and George show up at Burl’s place... and guess who the gang boss is sleeping with? Cissy! And Frank has to just take it and not do anything when the man who killed his brother is also sleeping with the woman he loves! That *situation* makes Frank the most important character in the film. On a message board someone asked why we need a character arc, and I said my usual: that I like to think of it as the “emotional conflict” rather than the character arc because it covers more ground. This is a great example of an “emotional conflict” - Frank’s character doesn’t really have much of an arc. Sure, he goes from being a convict to a guy working with the feds, and he becomes more cooperative with George, but his plan is pretty much to kill the guy who killed his brother, and that plan doesn’t change. He wants revenge, he will get revenge. No real arc, there. But he goes through all kinds of emotional hell in this film. He goes back to his home town and is ostracized and has to watch Burl put his fat hands all over the woman he loves and wants to kill the sucker but can’t because it will blow the mission. Compare Ross Hagen’s role of Frank with Christopher George’s cool spy guy who has no emotional conflicts at all, and you wonder why Chris George didn’t demand to play Frank.
Oh, somewhere along here I recognized the fat actor who played Burl... as 1950s pretty boy actor Ralph Meeker (who played Mike Hammer in KISS ME DEADLY) - man, he got fat! One of the reasons I didn't recognize Meeker until late in the film is that he isn't credited in this film until the end. But Meeker went from pretty boy to playing pudgy Southern Cop roles in only a few years. He was a character actor on a million TV shows in the 70s, and retired after the killer pancake movie WITHOUT WARNING. Here he does a great job as the pudgy good old boy moonshiner.
THE OTHER 7
While Ross Hagen is stealing the film from the star, the other guys on the team kill time until the big ending by skinny dipping with hot girls from town and getting into bar room brawls. This stuff all seems like padding - and the big structure problems is that it *is* padding - the film has prison break in scene one and a big action scene at the end and the rest is mostly filler material. Some of it is entertaining filler material, but it kind of slows down the pacing because nothing *important* is happening. This movie gets the cat up the tree and then gets it down, but never throws rocks at it... and makes you realize how important structure is in a screenplay.
One thing I should mention are the characters of the other guys, because they are much better than most low budget exploitation flicks. Singer Fabian is one of the guys, I think the mechanic, and Ron Rifkin is one of the guys - but I have no idea which one because I did not recognize him. Rifkin was in the new version of A STAR IS BORN and on NEW AMSTERDAM (I have never watched that show) and was the evil Sloane on ALIAS (Okay, I have watched that one) and I know him as a middle aged man... and this film was made in 1969 - it was his very first film! I have no idea which one of those young guys was Rifkin. But he may or may not have been the drunk one.... One of the guys has been on the chain gang for a while and the first thing he thinks of when they escape is finding himself a drink. When they hijack Burl’s runners, he swipes some bottles for himself and gets really drunk... and becomes a problem because he’s an alcoholic working undercover as a rum-runner - and keeps getting drunk and screwing up. Except - while searching for something to drink, he spots a truck full of booze and climbs in... and the truck goes to the secret still compound. Now he is not only so drunk he can’t stand, he has the information the team needs for that big action ending.
And we get a big action ending where that throwing hand grenades from a moving car training comes in handy, and most of the 8 die glorious deaths. But the big end action scene is much simpler than the end scene in DIRTY DOZEN and shorter, too. So where DIRTY DOZEN has that big killer action end that is at least a full third of the film, DEVILS 8 has a good action ending but not good enough to make up for the padding that has come before it. Still, they blow up 3 or 4 big stills in towers and wreck any car they have not yet wrecked. The problem is, the action scene isn't fleshed out - it's too simple. Destroy the stills. Okay, they do that and the story is over. What they needed to so is come up with a series of steps and set backs on the way to destroying the stills and Burl's operation. This is why the *writing* is an important part of action scenes - you need to figure out all of the small conflicts and set backs along the way to the big explosion at the end. If you look at the end of 48 HOURS the end action scene is complicated - it begins with the hijacked bus, has a trade for the girl, a big crash and a shoot out and a moment where the regroup and then go to Chinatown for the final action sequence which is made up of several parts - the shoot out at the women's apartment where Billy Bear and Gance were hiding, the shootout with Billy Bear, a chase over Chinatown's rooftops (a maze chase) and finally a high noon shootout between Cates and Gance. All of these steps escalate the final action scene and keep it exciting with twists and turns - we don't just have the big shootout at the women's apartment and it's over, Billy Bear and Gance *escape* (setback) and then Billy Bear and Reggie have a shoot out scene and then we have the chase and then... It's not "they fight", it's a series of scenes and moments. The problem with the action scenes in DEVIL'S 8 is the complete lack of complications and details. For a drive in movie, it needed more action!
I should mention the music - there’s a theme song that’s okay, but the score was just awful. Mike Curb was to blame. It’s kind of SMOKEY & THE BANDIT funny good old boy music, when this film is not a comedy at all. There are scenes where characters are getting *hurt* and this goofy music is playing in the background. It did not work. The theme was fine - one of those ballad things.
THE DEVIL'S 8 is one of those throw away drive in movies they made back in the day, with some great performances and a bunch of screenwriters who would later become famous. Larry Gordon would produce John Millius's DILLINGER in 1973 and then produce Walter Hill's greatest hits. Maybe worth a look, just for the talent that would soon become famous.
If you've seen INGLORIOUS BASTERDS, the movie playing at Shoshana's cinema that gets bumped for the Hitler Assassination Plan is called LE CORBEAU (THE RAVEN) - she has to take the letters off the marqee. The film was directed by Henri-Georges Clouzot, who is often called the French Hitchcock. Clouzot also directed a couple of my favorite films, WAGES OF FEAR and DIABOLIQUE. He is a great director - knows how to build tension to the breaking point. LE CORBEAU was only his second film, but it still works decades later.
LE CORBEAU is about an alof handsome young doctor in a village hospital who begins to get threatening letters signed by "The Raven". The letters accuse him of having an affair with an older doctor's pretty young wife... and of being an abortionist, who may even have been the one who knocked up all of the women he's accused of aborting. Because he wasn't born in the village, he's seen as an outsider... and when word gets out people believe these rumors.
The old doctor's wife also gets a letter from The Raven... and soon half the village are getting threatening letters accusing them of some rumored activity. The Raven knows *everyone's* secrets! Who can it be? The old cuckold doctor and young doctor basically must work together to find out who is The Raven. And there are some *great* suspects and a really shocking twist end. Actually, a double twist.
Though this is an early film of Clouzot's - not as suspenseful as DIABOLIQUE, it still packs a punch and has some very well drawn characters and it will keep you guessing until the end. The alof doctor is an interesting protagonist because he has a deep dark secret - and we think we know what it is and we are completely wrong. The character is a twist.
If you're curious about French films made during WW2 and during the Nazi Occupation, check this one out. Oh, and look between the lines for a message about living and working in Nazi Occupied France.
- Bill
Of course, I have my own books on Hitchcock...
HITCHCOCK: MASTERING SUSPENSE
LEARN SUSPENSE FROM THE MASTER!
Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!
We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?
Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.
Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.
The spider web fills the screen, it's Boris Karloff's THRILLER!
Season: 1, Episode: 5. Airdate: 10/11/1960
Director: Arthur Hiller Writer: Marie Baumer, based on a novel by Margaret Millar Cast: Mary Astor, Lin McCarthy, Jack Livesey Music: Pete Rugolo Cinematography: John L. Russell
Boris Karloff’s Introduction: “Rose French. In the blur of memory the face grows dim, but do you remember the name? Twenty years ago, Rose French... the remarkable Rose French.. As a servant girl or as a princess? She was a quicksilver star in a celluloid heaven. If a woman would sell her soul to achieve such fame, what wouldn’t she do to get it back? Poor Rose, that was all she wanted, to relive the past. And those who loved her, Frank Clyde for instance, could do nothing to stop her. For the comeback trail could lead to strange and sinister places. To a lonely garden, into a night of terror, it could even lead to the face of a painted doll. For the comeback trail is a journey without maps, sure as my name is Boris Karloff. Poor Rose French, and her last desperate summer. That’s the name of our story: Rose’s Last Summer. Let me assure you, my friends, this is a thriller.”
Synopsis: Mary Astor famously explained the Five Stages Of Stardom: “Who's Mary Astor? Get me Mary Astor. Get me a Mary Astor Type. Get me a young Mary Astor. Who's Mary Astor?”
Rose French (Mary Astor) is a once famous movie star, a real doll; now a washed up drunk living in a crappy apartment in Los Angeles... forgotten by time. She was married to three men... and divorced by them. Two were pretty boy actors who lived off her fame, one was a Howard Hughes like millionaire who may be the only man she has ever loved. But now she is alone. When she gets an unusual acting job out of the blue, she takes it... No fame or fortune involved, no spotlights and red carpets; that’s not what Rose is looking for. Just a chance to practice her craft... in some town in California called LaMesa. What’s the role?
A few weeks later, Rose French is found dead in LaMesa, in the garden of some dead millionaire’s toy manufacturer’s mansion. The young doctor at the rehab facility where she once dried out Frank Clyde (Lin McCarthy) and that Howard Hughes like ex husband Dalloway (Jack Livesey) show up at the inquest, where it is revealed she died of a massive heart attack, and had been in poor health for years. The two men team up, because the doctor had examined Rose not that long ago, and she had *no* heart condition and was in pretty good health for a boozer. Did someone kill her? Poison her and make it look like a heart attack? They head to LaMesa to investigate.
The garden of the dead toy manufacturer’s mansion is accessible from the street, did she just wander in and die? While poking around they spot an old woman watching from the window, and ring the bell. They talk to the son of the toy millionaire, Willet Goodfield (Hardie Albright) and his wife Ethel (Dorothy Green), about Rose’s death, and they claim they know nothing. She was just this strange woman who wandered into their yard and dropped dead. When they ask to talk to Willet’s mother, who may have seen something from her window, Willet tries to dissuade them. When they insist, old Mrs. Goodfield yells from upstairs that she will see them.
Mrs. Goodfield is heir to Horace Goodfield’s Sweet Marie Doll fortune, and old woman who walks with a cane and spends much of her time confined to her bed. She’s cranky, but answers Frank and Dalloway’s questions. She didn’t see anything, but it’s a tragedy that the woman died on their property. When Dalloway continues with a bunch of follow up questions, Mrs. Goodfield orders him out of the room, she needs her rest. While this is going on, Frank pokes around the house and discovers a piece of evidence that makes it look like Rose may have been inside the house. Frank and Dalloway leave highly suspicious of the family, and do further investigation...
Now we get our big twist, much like in the classic thriller MY NAME IS JULIA ROSS, the role Rose was hired to play is playing is a real person... Mrs. Goodfield. Millionaire toy maker Horace Goodfield left his fortune in an odd trust: his widow must live to her sixty fifth birthday for she and Willet to inherit... but the widow has a bad heart, and the family is afraid she will pass away before her birthday. So they hire Rose to play the window in the event she dies before her upcoming birthday. Rose does an amazing job, and Willet and his wife have trouble telling them apart. But when Mrs. Goodfield does die before her birthday, they have to figure out some way to get rid of the body... and decide to dye her hair, put her in Rose’s clothes with all of Rose’s ID and place it in the garden. Plan worked: nobody thought it was Mrs. Goodfield, and when her birthday rolled around Rose played the role perfectly and Willet got his hands on his father’s fortune...
But when Rose wants her money so that she can go back to her life, Willet asks, “What life?” You see, Rose is *dead*. Rose has nowhere to go, no life to live... nothing. Willet gives her a bottle of booze to wash away her depression... and when she’s passed out drunk they carry her out to their car to dispose of her. But Rose was *acting* passed out, and she escapes, running for her life as Willet and Ethel chase her in the car trying to run her down. A nice suspense scene, ending with Frank and Dalloway arriving at the Goodfield mansion with the police, hearing the screams from the car chase a few streets over, and rescuing Rose. Nice ending as Rose and Dalloway walk off together.
Review: MY NAME IS JULIA ROSS is about an actress who gets trapped in the role of a real person who was murdered, and can’t escape after she discovers they are setting her up as a suicide. This episode tells a similar story, but through characters outside the conflict who are investigating the mystery. This works fine, because by the halfway point we switch POVs and get Rose’s story, the character who *is* inside the conflict. What’s great is that Mary Astor gets to play duel roles, and pulls off both of them. When she is playing Mrs. Goodfield, you don’t recognize her at all and think she may be part of the conspiracy to kill Rose. And in the flashback sequence, she gets a *third* role, playing the real Mrs. Goodfield under the name “Helen Quintal” in the opening credits so that the audience won’t jump ahead of the story... the way Hitchcock did publicity shots with the chair for Mrs. Bates. She does a great job of playing the real Mrs. Goodfield against Rose playing Mrs. Goodfield, and manages to make each distinctive. So we get a great performance by Mary Astor at that time in her career she was probably the latter “Who is Mary Astor?”
The episode does some stock footage jet setting, from Dalloway’s yacht to San Francisco (where Horace Goodfield died) and from gritty downtown to the luxurious gated estate. All of this is very convincing, and gives the show some scope. Though the car chase and attack scene is tame compared to what we might expect on a TV series today, it’s great for the time. The novel it’s based on is by Margaret Millar, who was Mrs. Ross Macdonald (“Archer” filmed as HARPER with Paul Newman) and a great crime novelist in her own right. Again we get PSYCHO cinematographer John L. Russell shooting the episode, and Arthur Hiller who would go on to direct the hit LOVE STORY as well as critical favorite THE HOSPITAL does a good job... but on a show like this it’s all about pacing, and this episode works well.
Though not on a par with some of the great edge of your seat suspense episodes or the creepy horror episodes of the show, this is a solid entry that really showcases the talent of Mary Astor... and makes you realize there should *never* be a time when Hollywood asks “Who is Mary Astor?” just because an actor or actress is older. Mary Astor doesn’t play a 30 or 40 year old in this episode, and looks great... no crazy plastic surgery. For an actress who was a star in the silent age, and the femme fatale in the Bogart version of THE MALTESE FALCON, she gives a great star turn here and shows that she could still act circles around most actors half her age. What is the reason for that? Oh, yeah: *Experience*.
I have no idea when the first Showbiz Expo was - and I’m too lazy to do the research - but it seems like soon after I arrived in Los Angeles 20 years ago, I went to my first Showbiz Expo. The old Expos were at the LA Convention Center and filled the place with the latest film equipment - with giant camera cranes in the parking lot and the latest 35mm cameras from Panavision indoors. Every company that did something related to the film biz was there - and when Script Magazine put out their first actual magazine version, we had a booth to announce it. In fact, in 1998 my book debuted at Showbiz Expo - I did autographs at the Hollywood Scriptwriter newsletter booth and at Script’s booth.
I used to love going to the show, often with my friend Jim, and we’d look at the cameras and cranes and steady-cam rigs and all of the other cool stuff and talk about how we would use it in *our* film. We got on all of the mailing lists, and knew which equipment company had the best deals this month, and what new gizmos came out between Expos. And there were some cool gizmos! A remote control helicopter with a camera attached that could get an aerial shot swooping down from the heavens to a house window... and then fly through the window and down that hallways to find the actor in some back room of the house. All one shot! There were guys who built miniatures, there were guys who did creature make up, there were stunt people and studios with standing sets and prop houses where you could rent a full sized version of the Lunar Excursion Module from the Apollo missions as well as all of the space suits that go with it. Expo was like a candy store for movie kids.
The problem for me ended up being Script Magazine became successful - as one of those first writers, and a guy who lived in Los Angeles, I became elected to run the booth. At first it was fun, but after a couple of years I was chained to that damned booth and didn’t get to see the show anymore. I do a slow burn kind of thing - I start out being nice and cooperative, then grumble a little under my breath, and finally just get pissed off. Script began assigning some of the other writers to time in the booth, and that was great because I could finally wander around the candy store again. And around that time, Showbiz Expo just stopped happening.
Attendance had been declining over the years - that damned internet became the place where people looked at all of the new equipment - and finally they just closed their doors.
Then, after almost a decade... they came back from the dead.
NEW EXPO
At the end of last year during that week between London and what was supposed to be Hong Kong, was Screenwriting Expo. I thought about doing classes for about a minute - then realized I’d be jet lagged and asleep on my feet. Which I was. But I decided to stop by and hang out for a couple of hours because some of you people would be there and it’s a chance to say hello in person. Except in my jet lagged state I took the subway and then rode my bike to the Convention Center... then followed the Expo signs inside to... Showbiz Expo! Hey, it came back! That’s not where I was going, but I was there so I figured I’d check it out. It was much smaller than before, but that gives it room to grow, right? After doing a walk through I goty back on my bike and rode to the hotel where they were holding the *Screenwriting* Expo and may have talked to some of you.
Only a few months later, they held the Showbiz Expo again, and I went *on purpose*.
Early registration is *free* - which is how it was in the good old days. The difference is that the good old days was a postcard you filled out, now you go online where you fill out *endless* forms. There is the main registration form... then you must go through every single class and seminar and panel and possible upcharge and check whether you want it or not. Plus - would you like a booth? Plus - would you like to display your headshot? Plus - would you like to put promotional materials in the swagbag? Plus - would you like to sign up for their online services listing for $5 a month? Plus....
After filling all of that out, I expected a free burrito or egg rolls or something. But I was into the event for free, so that’s cool.
A few days before the event I start getting robo-dialed pre-recorded reminders that it was coming up. Um, okay.
My friend Kris talked about car pooling, but parking is around $10 (it was actually $12) and I suggested the subway because it takes you a couple blocks away for $2.50 round trip. He wanted to drive, so I did a bike/subway thing so that I could ride the couple of blocks... and called Kris once I got there to tell him that the event was kind of small.
I walk into the Convention Center, following a crowd, and ended up at... some sort of Pot Expo! The main West Hall was Pot Fest 2010 or whatever... there were people in *bong costumes*! Welcome to California! Wait, I thought Showbiz Expo was in West Hall? Well, it was in the little room. I go to the small hall where I’m sent to a line for pre-registered. I am always prepared - and have my computer print out with the bar code in my hand. There is this guy behind me - and old guy - who starts a conversation with some people in the section of the line to our right - ahead of us by a turn. Then he hops the rope, and is now ahead of me. I swear he did not know those people. Anyway - he gets to the front of the line a turn before me, and has to search his pockets for his print out. That kind of stuff pisses me off. Sorry, I feel better now that I’ve vented.
Anyway, I get to the front of the line and the guy scans my print out and tells me to go to computer terminal number 7. I tell him I have preregistered, he says he knows, go to computer #7. I go to computer #7 and there is my name and info... but I have to go through every single class and seminar and everything else again and say I don’t want to take them. Hey, maybe I’ve changed my mind, right?
Most of the classes are aimed at actors, but there are two screenwriting things - one on pitching and one on The Modern Spec Script... which claims that NORTH BY NORTHWEST was a spec. Um, no. Assignment. An *original* screenplay, but not a spec. When I see stuff like that I worry that if they get that wrong, what else are they getting wrong? I again decide not to take the class and find out what they get wrong. After going through all of those pages a second time, I hit the button and am sent to a printer station where they give me my badge. This is worse than the DMV!
I show my badge and go in... and it’s small. In fact, this was the little annex room they had all of the screenwriting vendors in back in the old days. Where I was stuck for 8 hours every day for 3 days a decade ago. Now, this room is everything. In fact, it’s kind of less than everything - because the back of the room is a bunch of empty tables and a couple of bored dudes behind one of those rolling hotel bars. Oh, and behind them there is a curtain with some tables set up for networking. Networking you have to pay for (one of the checkboxes on the computer).
Most of the stuff seems designed for actors - which is okay. There was a “headshot row” - the right aisle was a table where you could pay to put your headshots and every acting school in Los Angeles (there are a million of them - if you know any actors, you know they take class after class after class and talk about them constantly. “Have you done Meisner?” “Yes, from six different instructors. It really came in handy when I did my scenes study class.” “I’m going to do one of those when I finish this on camera audition class.” “I think next up for me is Stage Movement.” “I did Camera Movement, do you think it’s much different?” “Of course, why else would they have two classes?” The class pushing the hardest seemed to be The Science Of Acting, which had a book and everything.
On the left side of the room they had an Indie Film Aisle where you could rent a TV/DVD combo showing your movie or movie trailer with postcards in front. Who these post cards were for, I do not know. Hard to imagine a film distrib wandering past, seeing the trailer for one of these films, and wanting to buy it. This seemed like a crazy longshot kind of thing. Why not find some better way to bring filmmakers and distribs together?
Movie Magic and Final Draft & Script and Writers Book Store were there, but that was about it for screenwriters. There were a few equipment places with some cool steady cam type rigs and some lights and a grip truck. Plus the most luxurious porta-poties I have ever seen - there are people in New York with apartments smaller than these toilets. Plus a Winnebago screening room conversion and a place that makes fake snow that had ice skating chicks demonstrating and next to it a bunch of confetti cannons that were getting stuff all over the floor that janitors were sweeping up. Oh, no carpet on the floor - I guess that would have cost too much. I did a couple of rounds, talked to Zach at the Script/Final Draft booth, then went to the keynote speech...
Which was not a keynote speech at all, but a panel on the joys of voice over acting. I split after about 20 minutes.
The keynote speech was held in the same room where they had a free film fest, which I did not go to. Maybe I should have. Maybe that was the great thing at Expo.
The guy running a booth in a T shirt with his guy hanging out - and I mean really hanging out - was not the great thing at Expo.
I bumped into a fellow writer and talked shop, then left.
The Pot Expo was still packed as I walked out of the Convention Center, unlocked my bike and rode back to the subway to Universal City...
NEXT EXPO?
There’s nothing wrong with Showbiz Expo targeting actors - that seems like a good way to build it up. But they need to lose trying to sell classes to the people who already decided not to take them when they preregistered. They also need to spend some more time thinking about things that are not actors. I’m sure a director of photography who went thought it was mostly a waste of time. Just like with a screenplay, you have to know your audience. If you are writing a script for a niche audience, it needs to focus on that niche and what they want to see in a film... and also has to be something that can be made on a budget low enough that it can return a profit from that niche. If you are going after a broad audience your script can cost more to produce because more people will be interested in paying to see it... but you have to know what attracts that broad audience and provide that in your screenplay. The problem with Expo is that is was supposed to appeal to a broad audience (it was at the Convention Center and wasn't called "Actor's Expo") but seemed to mostly be targeting actors. That's like writing a big budget screenplay that only appeals to a limited audience... good luck selling that one.
As a screenwriter, I think they need to look closer at their classes and make sure they get someone who knows what a spec script is teaching them. (Hey, I’m available.) They can also find something to bring in screenwriters - something similar to their Headshot Aisle and their Indie Film Aisle. I know there are filmmakers out there looking for scripts - that kind of stuff pops up on Craigslist - why not find some way to do that at Expo? A variation on the pitch events at most screenwriting events, but one designed to bring indie filmmakers and writers together? And how about some hands-on classes for filmmakers - you have the companies with new equipment in the dealer's room - why not have them give a 1 hour class on using the equipment they sell? Same thing, by the way, for the screenwriting programs - how about a Final Draft class? Have The Writers Store round up a panel of folks with books who can do autographs before and after? Make the screenwriting elements into an *event* that can not be missed! Again - like a screenplay: you don't want to write a script that would become a movie that people will wait until it comes out on DVD to see, you want to write that script that they must see on opening weekend... and will stand in a stupid line and maybe even fill out the same damned computer form a second time.
And, just like with a screenplay, you have to establish stuff before you can pay it off. Maybe New Expo needs to build itself up for a few years before they attack you with a million upcharges and going through the forms twice? Have these vendor classes be FREE. If they asked me, I might do a free class as a way to distribute postcards for my website (which I brought - but they had no junk table to put them on). If you are selling the new version of a screenwriting software, wouldn't doing a class that shows all of the new do-dads be a great way to sell a few programs? This would bring people into the event, where you would have some classes you'd have to pay for - which would be more heavily attended because you have more people.
Why not run Expo like a movie - with department heads in charge of each job and have them come up with the coolest classes and contests and everything else that might attract people to the Expo? It seemed like this whole thing was run by actors who had no idea what a screenwriter or crew member or key creative person would want to see at an Expo... so they had some odd stuff that seemed a bit bogus.
And the keynote address? Um, that is all about star power. Also, all about a topical subject. Voice Over Acting is neither. Again, it's like writing a screenplay where the lead is boring. You want the most exciting and interesting character you can come up with, because people will come to see the movie if the character is cool, even if they are not played by a star. Hit Girl from KICK ASS is a good example. So, what is going on in the industry right now and who is the most famous person you can find to talk about that subject?
As with everything else, good idea but lacking a bit in execution.
Hey, it was free (except for the $2.50 subway ticket).
ARMORED CAR ROBBERY (1950)
Directed by: Richard Fleischer. Written by: Earl Felton and Gerald Drayson Adams. Starring: Charles McGraw, Adele Jergens, William Talman, Don McGuire, Steve Brodie, Gene Evans. Produced by: Herman Schlom. Cinematography by: Guy Roe Music by: C. Bakaleinikoff.
A couple of years ago at Noir City Hollywood they showed a restored version of a film called ARMORED CAR ROBBERY which featured the director and star of NARROW MARGIN, plus - to keep my movie connection string at the time going - William Talman from PERRY MASON. Afterwards I watched one of the FALCON movies that co-starred Barbara Hale who played Della Street. The “movie connection string” is a strange thing that I noticed happening by accident - I would see a film starring someone, and the very next film I saw would also star them... or maybe it would be movies that shared the same character actor in a supporting role. But random movies would have connections, and ARMORED CAR ROBBERY seemed to be the link between two other films due to Talman. But the film was amazing, so besides the random connection between films, it’s well worth exploring.
ARMORED CAR is like a 1950s version of Michael Mann’s HEAT, including a big end chase and shootout which takes place at LAX airport... probably before those letters meant anything. It packs a lot of story into a its brief running time and has plenty of twists and turns! One of those “lost” crime films that deserves to be discovered... especially by fans on the Mann movie.
Talman plays master criminal Dave Purvis who has never been caught because he is ultra cautious - he cuts the labels out of all of his clothes and meticulously plans his heists. He has no criminal record, not even a parking ticket. Perfectly clean as far as the police are concerned - almost a ghost. He changes motels every night - harder for the police to find him. He has contingency plans for every possible thing that can go wrong, and is ready to pull off the big one: He's going to knock over an armored truck at a baseball stadium - over half a million bucks.
The movie opens at Los Angeles City Hall’s police dispatch division as someone calls in a robbery in progress at Wrigley Field baseball stadium, and - because director Richard Fliescher’s previous film, TRAPPED, was a procedural about the Treasury Department, here we also get a procedural feel - and go from the emergency operator and follow the information card on a conveyor belt to the dispatchers, who call patrol cars and detectives... Including our lead Lt. Jim Cordell (the always gruff Charles McGraw) and his partner Lt. Philips (James Flavin).
At the baseball stadium, Purvis waits with a stopwatch, timing the police response time. When Cordell and Philips arrive, Purvis studies them - his opponents - and then hops in a cab, headed to a strip club. Cordell tells Philips that this is just another false alarm - the city has been getting a lot of them over the past week... they don’t know that these have all been part of Purvis’ “study” to find the best place to hit the armored truck. Like in HEAT - this film keeps putting these two opponents at the same location - it’s all about this cop and this crook.
At the Strip Club, Yvonne LeDoux (Adele Jergens) is dancing on stage as Benny McBride (Douglas Fowley) watches... and Purvis sits next to him. Yvonne is Benny’s estranged wife, and he wants to get back with her... but she is seeing some other guy.
Benny needs money to win her back, so that makes him perfect for Purvis’ heist team. McBride brings along hot-headed get away driver Al Mapes (Steve Brodie - Mitchum’s double crossing partner in OUT OF THE PAST and the father of the director of my TREACHEROUS film) and another stick up artist Ace Foster (Gene Evens - from Sam Fuller’s STEEL HELMET). Purvis gives McBride his new phone number at his next motel, tells him to memorize it - never write things down. But as soon as Purvis leaves, McBride writes the number down in a matchbook. This is a story about intelligent people who plan ahead - and McBride is a loser.
Twist: That other dude who is sleeping with Yvonne the stripper? McBride’s estranged wife? Purvis. Who plans to kill McBride... maybe during the robbery. He is stealing the cash from an armored truck, and stealing his partner’s wife! And part of that plan involves “accidentally” shooting his partner. We are 7 minutes into the film, and all of this has happened! This movie doesn’t have any slow spots!
The planning scene is cool - the rolling window shade in Purvis old hotel room has the plans and map drawn on it, he pulls it down and the heist team goes over the plan. The reason for taking the armored car at the baseball field is that it’s one of the last stops - it’ll be loaded down with cash - and the police response time was slowest there. They have 3 minutes to pull the heist - if there’s money left on the truck they leave it. The plan comes before the money - what good is an extra thousand bucks if the police catch you... or kill you? You must be able to leave any extra cash behind, the same way that Purvis is willing to leave all of his clothes behind in the room if the cops knock on the door.
(Doesn't DeNiro talk about this in HEAT?)
(12:00 minutes into the movie.) The Robbery: The team is dressed like laborers. Mapes has the getaway car across the street idling. Ace pulls up directly behind the armored truck in an old clunker which stalls. Purvis and McBride go over to see if they can help. The two Armored Guards return from the baseball stadium with bags of money and unlock the back doors of the armored truck...
Wham! Ace sets off a smoke grenade under the hood of the clunker which covers the back of the armored truck in dense fog. The team puts on gas masks, knock out the guards and start transferring bags of money into the getaway car as Purvis starts his stop watch.
Tick. Tick. Tick. Tick. Tick.
Someone calls the police. The card goes down the conveyor belt...
But Cordell and Philips are cruising in their car nearby - another false alarm? They get to the baseball stadium long before the three minutes are up, and there’s a big street shoot out that begins around 14:40 minute mark. (Like the shoot out after the bank robbery in HEAT.)
Purvis shoots Philips, Cordell shoots McBride... saving Purvis the trouble. But McBride is still alive - wounded. The robbers climb into the getaway car and Mapes speeds off. Cordell jumps into his unmarked car and roars after them.
We get a great car chase and moving shoot out through the streets of Los Angeles. Purvis shatters the rear window of their getaway car and shoves his pistol through the hole, firing at Cordell. Mapes pulls around a truck backing up and Cordell isn’t as lucky - crashing his police car. He immediately calls in the make and model and license number and an ambulance for his partner... and we see the inner workings of the police department again as they handle the information.
Hospital: Philips is dead. Cordell talks to the widow (Anne Nagel), and there’s a big emotional scene about how they were both Philips’ partners - day and night.
Then Cordell meets his new partner, rookie detective Danny Ryan (Don McGuire) and he’s no Philips. Just some punk kid who got promoted. Nobody does gruff like McGraw - he has the least sympathetic delivery of any actor in crime films and makes Clint Eastwood seem like a soap opera star. This is what makes him perfect for movies like this and ROADBLOCK because you don’t need to establish that he doesn’t give a damn about his new partner and you don’t need to have a long scene about how much he cared about Philips - he can speak *one* line about how Philips was his partner and it’s so different from his gruff default mode that it’s emotional.
Cordell and Ryan hear a radio report that the robbers dumped the getaway car under a bridge, and they drive out to the scene where a CSI Team is searching for clues. Smudged prints, gas masks and painter’s clothes - no clues. But somebody lost a lot of blood, just not enough to make Cordell happy. They are doing plaster molds of the tire prints of the new car they have switched to. Again, the procedural elements in this movie are great - this was decades before CSI hit CBS, but we get to see how a crime scene is actually processed for clues and information.
Meanwhile, McBride is bleeding like crazy in the new car... and ahead there’s a roadblock. All of the robbers are dressed in hard hats and work clothes - and look like a bunch of guys going to work at the docks. Mapes gets nervous about the road block ahead and tries to turn around, but a motorcycle cop cuts them off - they must go through the police checkpoint. This requires that McBride act as if he isn’t bleeding to death, and that they cover up the blood. All kinds of suspense in this scene as McBride keeps passing out... and a cop searches the interior of the car - around the bleeding McBride, then they can’t get the car to start for a very tense moment.
But they get through the checkpoint and are home free...
When one of the cops notices there’s blood on his leg. Where did that come from?
A motorcycle cop and a pair in a police car chase after the robbers... but the robbers evade them with some great driving by Mapes. One of the great things about this movie is that they probably didn’t have the money for big shoot outs and big car chases - it was a B crime movie, so they focus on suspense (which is basically free) and just when you think that the robbers have gotten away - TWIST - something goes wrong and we get a short piece of (low cost) action. There are no slow spots - it’s densely plotted and manages to uses suspense to keep it exciting without blowing the budget.
Now the police have a new search area - the harbor area - and Cordell and Ryan head to that division’s police station... where the Insurance Guy for the Armored Car Company shows up and wants to help... and Cordell tells him to get the heck out of his sight. He’s such a teddy bear.
Meanwhile the robbers are hiding in a dockside warehouse... where McBride realizes that he is dying. Purvis refuses to get him a doctor, and McBride pulls a gun - so Purvis kills him. Brutal. He shoots a dying man. If you thought Cordell was basically emotionless, Purvis tops him in this scene. What’s cool here is that McBride was supposed to be killed in the robbery, but by keeping him alive (and bleeding) the story uses him to create suspense and this brutal scene.
Ace puts the body in their car and drives it off the edge of the pier while Mapes stays with Purvis - afraid of a double cross. A guy who would kill a dying man would also just take off with the money. Purvis tells Mapes that McBride’s wife gets McBride’s cut... then beats up Mapes. Just for fun. Actually, I don’t think Purvis does anything for fun - this was to show Mapes who is the Alpha Male - so that Mapes doesn’t double cross him later. Everything with Purvis is calculated.
(31:30) Bad luck, as a pair of patrolling cops come upon the sinking car with McBride’s corpse in it moments before it’s about to vanish under water. They call it into dispatch, and Cordell and Ryan overhear it on the radio and ask for the make and model of the sinking car... it matches the basic information they have from the tire prints. What are the odds?
At the pier, Cordell and Ryan check the tire tracks against their plaster cast of the new getaway car - and it’s a perfect match. Ryan drives and Cordell stands on the running board of their unmarked car and they follow the tire tracks through the dark, spooky warehouse area. What makes this great is Cordell hanging onto the outside of the unmarked police car as it creeps through the industrial alleys - keeping his eyes on the tire tracks. It seems dangerous and like an action scene... and is an original way to “follow the trail” to find the badguys.
Another great HEAT type moment as Purvis, Ace and Mapes leave their hide out... and almost bump into Cordell and Ryan! They hide behind some equipment. And there’s a tense scene as Cordell, Ryan and the uniform cops search the area where Purvis and the robbers are hiding - it’s like a game of hide and seek. Purvis and the robbers must be super quiet as they move from spot to spot moments before Cordell and the cops moves to search the spot where they just were. Another great scene that builds suspense on a low budget - lots of close calls!
Purvis gets his gun ready and tells the others that they have to make a run for it - one at a time - to the boat at the next pier that is waiting to take them to Mexico. Mapes goes first and gets to the boat, but Ace loses his footing as he runs and trips - making a sound loud enough to attract Cordell and the cops! They chase after Ace and shoot him... Mapes hears the shots, starts the boat and gets the hell out of there. Cordell and the cops race to the pier and shoot at the boat, but it gets away. While they are shooting at the boat, Purvis sneaks away with the suitcase full of cash from the robbery. Was this his plan all along?
(36:00) A newspaper fills the screen, the robbery is the headline. When the newspaper vendor lowers the paper it exposes the Strip Club... as Yvonne leaves work. Great shot! We follow her into an all night diner, where she spots... Purvis. She heads to a phone booth on one side of the diner, Purvis heads to a phone booth on the other side of the diner. “How does it feel to be a free woman?” he asks her. “Just the same.” They arrange to meet at the new Motel - she has memorized all of the information that her now-dead husband couldn’t remember. She smiles at him through the phone booth window as she leaves - it’s a promise of things to come.
Valley Motor Court Motel. Yvonne and Purvis lock lips, then he pops open the suitcase full of stolen money. He warns her that due to her husband’s untimely death, the police will show up to question her - and coaches her on how to act. Also says that they can not see each other until it’s time for them to split the country.
(40:00) Cordell and Ryan look over McBride’s rap sheet - no shortage of arrests and convictions. Ace’s rap sheet - the same. And both men knew another convicted armed robbery get away driver named Mapes - and they look at his rap sheet. That’s 3 out of the 4 gang members, and Mapes and the unknown suspect are in the wind... and Cordell (being a complete hard ass) tells Ryan that these three are just stupid stick up men and Ryan shouldn’t care about them. It’s the Fourth Man who is important. He was the planner. He is the man they need to get off the street.
At McBride’s Apartment - while waiting for the fingerprint crew to show up - Cordell and Ryan do a search and question the landlady, who says that McBride had three friends over a couple of times during the last week. They find a framed photo of Yvonne and Ryan volunteers to check it out with modeling and talent agencies. She’s hot and Ryan *does* have time for women in his life. Cordell is poking around and notices something - asks the landlady what happened to the window shade? Stolen? That’s odd. Then Cordell finds the matchbook with Purvis’ new phone number. He dials the number... “Valley Motor Court.”
Valley Motor Court Motel. Cordell and Ryan drive up and go into the manager’s office...
As Purvis packs in his room, ready to go to the next place. He looks out the window and sees the unmarked car!
The Manager leads the Detectives to Purvis’ room!
Purvis grabs the suitcase full of money and hops out the back window just as the Manager knocks at the door!
Cordell tells the Manager to use his pass key. They enter the motel room and Cordell sees all of the packed clothes.
Purvis tries to get away, but Ryan is next to the unmarked car... blocking the exit. Purvis is trapped! He pulls out his gun and hides behind a car parked in a carport, just as Cordell and the Manager step out of the room - only a few feel away!
Purvis waits until Cordell goes back inside to continue searching the motel room and then slips away... leaving everything he owns behind, except for the money.
Another very tense suspense scene where Cordell and Purvis are within spitting distance of each other, which makes us focus on the HEAT-like cop vs. robber element of the story. It’s these two men in a chess match using guns - each trying to outsmart the other. Lots of tension in a scene with guns but no gunplay... just the threat of a shoot out erupting if Cordell spots Purvis.
Back at the police station: The CSI Lab Guy tells Cordell the height, weight, and other information about Purvis from the clothes they found in his room - and the hair on his comb that was left behind. There’s also some lipstick on one of the shirts - and it’s analyzed. A theatrical brand not available in retail stores. They now have a good description of the Fourth Man. That’s when Ryan calls with the name of the dame in the picture - Yvonne, a stripper (“You ought to see her in her work clothes”) and she’s McBride’s wife... er, widow. Cordell wonders if the theatrical lipstick may have come from the stripper.
(46:45) The Strip Club. Cordell and Ryan go to question Yvonne... but she’s working. “There she is, with bells on.” “Very few bells.” They decide to watch the show until she’s free... Ryan enjoys watching, Cordell thinks this is just a waste of time.
Outside, a man’s silhouette is looking at the poster of Yvonne. Purvis? No, Mapes! He enters the club... walking right past Cordell and Ryan to find a seat up front.
Cordell and Ryan spot Mapes and split up in order to box him in. Suspense builds as Cordell gets to Mape’s row and sits to his right... and Ryan sits to his left. Mapes knows something is up and tries to split, but Ryan pulls down his coat - binding his arms, and Cordell grabs Mapes’ gun from the shoulder holster.
At the police station: They question Mapes... Cordell wants him to fry for killing Philips. They bring in one of the Armored Truck Guards who I.D.s Mapes as the getaway driver. Oh, and they have his fingerprints from McBride’s apartment (more CSI procedural authenticity - in crime fiction the procedural subgenre is all about the actual procedures used in solving crimes - from CSI’s blood spatter charts to Ed McBain’s novels filled with police reports and crime scene sketches). Mapes says he was the getaway driver, but didn’t kill Philips - that was Dave Purvis. The Fourth Man. Also Yvonne’s boyfriend... why else would he brutally kill McBride but want to give money to the widow? But Mapes has no idea how to find Purvis. He has no convictions, no arrests, nothing. Purvis is a ghost - his name might not even be Purvis, who knows?
Ryan follows Yvonne in hopes that she leads them to Purvis.
They bug her dressing room at the strip club.
They bug her car.
(53:00) The Strip Club. Ryan reports to Cordell: “She comes in, hangs up her coat, puts on her make up, takes off her clothes.”
“How do you know that?”
“The zipper makes a noise.”
Then they overhear her telling the club owner that she is quitting... as of tonight. They are going to lose her! So Cordell sends Ryan undercover as Mapes to press Yvonne to contact Purvis so that he can get his cut. Has she ever met Mapes? What if she knows what he looks like? (This is a great suspense builder - it turns a meeting into a potential for danger.) “What do we got to lose? Only me.” Cordell is worried that the kid might suffer the same fate as his previous partner, who Purvis killed... but he doesn’t show it. What might be a whole scene in some other movie is just a glance from Charles McGraw that tells us he cares about the kid.
(55:30) In that all night diner: Yvonne sits alone at a table... and Ryan sits next to her, says he’s a friend of Dave Purvis... named Mapes. Ryan plays the role - roughing her up a little. Demanding that she get in touch with Purvis so that he can get his cut of the dough. Really convincing.
But guess who walks through the doors?
Purvis.
Like DeNiro’s character in HEAT who lives by: "Don't let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner" - and then can’t leave without Amy Brenneman’s bookstore clerk, Purvis leaves all of his clothes in the motel room... but can’t leave Yvonne.
Purvis goes to the phone booth on one side of the diner - as he did before. Yvonne tells Ryan that she will call Purvis so that he can get his money, and goes to the phone booth on the other side of the diner. Ryan insists on standing outside the phone booth and listening in, so that she can’t double cross him. Great suspense because we know that Purvis has seen Ryan and knows that he isn’t Mapes. Purvis says on the phone, “That guy’s not Mapes, it’s a cop.” Will she show it and blow it? She keeps her head. He tells her to stall him until he can get away, then she should run out the back door - there may be cops out front. She keeps talking, even though Purvis has hung up and left the diner.
She hangs up and tells Ryan that Purvis wants to talk to him. When Ryan gets into the phone booth next to her, she slams him, closes the door trapping him inside, and runs out the back door.
There’s a foot chase outside as she runs to her car, but Ryan catches up with her. Catches her. Prevents her from escaping. Good news!
Then Purvis jams a gun in Ryan’s back. Bad news!
Purvis takes Ryan’s gun and tells him to get into the front passenger seat. Yvonne gets behind the wheel, Purvis sits in the backseat behind Ryan - keeping his gun jammed against the cop’s neck.
In front of the diner, Cordell and another cop hear Yvonne’s car start up... and Cordell gets in the unmarked car with the receiver and they follow. They hear Ryan ask Purvis where they are going... and Cordell and the other cop follow after Ryan mentions the traffic on Figeroua Street.
Ryan is doing a great job of slipping in the street names so that Cordell can follow, but Purvis doesn’t trust Ryan - knocks him unconscious - and decides to find another car - the police know what Yvonne’s car looks like.
Cordell has lost them... and maybe gotten Ryan killed.
They pull into a lumber yard and Purvis and Yvonne get out of the car. Purvis tells her to find a cab - they are going to the Los Angeles airport where he has a plane chartered. Ryan hears all of this - he is not really unconscious. He waits until Purvis and Yvonne aren’t looking and then Ryan tries to run... but Purvis shoots him in the back! As Purvis gets ready to shoot Ryan in the head to finish him off... a police car creeps by a street away. Purvis can’t shoot without attracting attention... so he and Yvonne run. Find a cab, and head to the airport.
One of the things I like about how this story works is that things go wrong - which creates suspense and plot twists. Ryan would be dead if it weren’t for that police car creeping past. The police car isn’t some random accident - they are searching for Yvonne’s car in this area. But every time either Cordell or Purvis gets a step ahead, something goes wrong and the balance changes. Nothing ever goes wrong because a character is stupid and makes a mistake, these two men are experts at their jobs. It’s the things that they can’t control that go wrong.
Ryan - dying - crawls back to the car, climbs inside, gets next to the bug and says his name and location - the lumber yard. Cordell hears it and they head to the lumber yard...
They enter the lumber yard with guns drawn - they don’t know if Purvis is waiting for them, if this is a trap. Then they spot Ryan unconscious in the car and Cordell runs to him - and speaks to him softly, gently cradling him. McGraw still sounds as if he was gargling with gravel between takes, but just by not barking orders he sounds more emotional. Ryan tells him that Purvis and the girl have gone to the airport, where they have a chartered plane.
Cordell calls an ambulance for Ryan and then gets in his car and races to the airport. Just like Pacino in HEAT - someone he cares about may be heading to the hospital, but the crook is getting away! He has priorities. He radios in to have all private planes kept on the ground.
Purvis and Yvonne get into the private plane, the engines fire up, and they head to the runway... when the tower radios them to stay put. Purvis pulls his gun and tells the pilot that he only takes order from Purvis. The plane gets back on the runway - ready to take off. But the tower radios that there is another plane *landing* on that runway! The pilot stops the plane at the end of the runway... and then they hear the police sirens.
Cordell has arrived.
Purvis grabs the suitcase full of money and bails out of the plane, running like crazy down the runway.
Cordell rolls out of his police car and fires at him - and Purvis returns fire... then keeps running down the runway.
Where that plane that is landing runs over him and smashes him flat - busting open the suitcase full of money so that all of the cash flutters in the wind.
We end with Cordell visiting Ryan at the hospital, and the two men have become friends and partners.
ARMORED CAR ROBBERY is like a predecessor for Mann’s HEAT, and I wonder if he saw it before he did his TV movie L.A. TAKEDOWN (1989) - which HEAT is almost a remake of. Though the print of ARMORED CAR ROBBERY was a restored version, heck - these are the kinds of movies that I used to watch on the Late Late Movie at 1am, and maybe Michael Mann did, too. These are so many parallels that it seems impossible that he hadn’t seen it.
But even without the HEAT parallels, this film is a great little crime flick with a cat and mouse game between McGraw and Tallman through Los Angeles that brings to the surface how each treats their partners, with lots of great procedural stuff on both sides, from planting bugs and doing tire casts and showing how a 911 call (yeah, it wasn't called that at the time) goes from operator to dispatcher; to methods for crooks to contact each other and how to get past police road blocks. Oh, and there's a stripper! We will probably look at some more films from this director in the future, because he not only mad a bunch of great low budget crime films in the 50s, he directed FANTASTIC VOYAGE and 20,000 LEAGUES UNDER THE SEA and MR. MAJESTYK and SOYLENT GREEN and CONAN THE DESTROYER. The most amazing career for a director you may never have heard of!
Directed by: Burt Topper.
