Shack Out on 101

The 50's don't come any goofier than this. It's like Senator McCarthy and the Three Stooges stole 50 bucks and decided to commit a movie. But Lee Marvin steals the show in a performance that puts him in the Commie Dishwasher Hall of Fame. When he's not serving up Timex hamburgers, checking out his "pec's", or slobbering over waitress Terry Moore, he's relaying atomic secrets to the Russkies. And here I thought Stalin's boys only spoke in whispers and worked in libraries. Actually this is a Marvin showcase. Watch how effortlessly he moves from laughs to menace and makes you believe both. That weight-lifting scene with Wynn is some kind of screwball classic. It looks improvised to me, like someone said, "Hey, we've only got 3 pages of script! Turn the camera over here." And when Marvin strangles himself in pursuit of "a Really big neck", I heard gym doors slamming all over the city. There must be a story behind this one-set wonder, but it can't be any weirder than what's on screen. I'm just wondering when the outpatient Dein's were due back for further therapy. Anyway, it's an overlooked chance to catch one of our greatest actors in perhaps his most offbeat and unsung role.

The most important thing about this amazing piece is that despite its limitations from the buck fifty budget to the sledgehammered propagandist overtones to the all-over-the-place acting, this is a highly entertaining and enigmatic movie-going experience. That is not to say that it makes a lick of sense. But when you are treated to as much tear stained laughs and anvil-forged he-man dialogue, does it matter? I didn't even intend to see this one but a revival house ran it as the second feature here in Hollywood a few years back and I sat and watched and was blown away. I can't recall what the top billed film was but I sure recall this quintessential (yet almost unknown) tough guy movie. Screw all the proto-Nietzchean questions of Man and Superman, existential angst and jingoistic integrity discussion. This is pure lusty FUN... the story of good girls gone bad and bad men gone worse!

For starters, here's an object lesson on how someone with screen charisma can overcome incredible problems, including a spotty on-the-nose script and zero production values. In this case, young Lee Marvin (SLOB) absolutely obliterates, yanking all our attention away from whatever else is happening (generally not much) in any given scene. This IS a compliment. His infectiously sullen scowl and alienated bad boy 'tude is so blinding that even Keenan Wynn, quite the smouldering hambone of hate himself, is superseded. I can't really recall all the ins and outs of the thinly veiled communist parablizing (something about smuggled nuclear secrets), but I sure recall Marvin hitting up a very comely Terry Moore and that the sparks fly. Truly, there is as much iconoclastic rebellious poseuring here as in Brando's much more famous (but no better) THE WILD ONE or any three Clint Eastwood movies. There may not have been any visible plot but the dialogue is diamond hard and I promise the blisteringly melodramatic interactions will have you laughing harder than you will at anything Adam Sandler puts out.

When the producers at lowly but lovable Monogram decided to sell an upgraded product, they replaced their banner with that of Allied Artists. This AA release definitely retains that absurd old Monogram spirit. Is it a comedy/satire? A spy spoof? An anti-commie rant? An Ed-Woodian comment on twisted sex mores? A love story? All these things? None of the above? No one knows for sure. The late David Newman said it best in his seminal "Guilty Pleasures" article for Film Comment -- "at no time is it possible to get a handle on this movie." There's a scene where Wynn and Marvin attack a neon swordfish sign that is as nutty as any George Zucco and a guy-in-a-gorilla-suit nonsense from the studio's glory days. Lee Marvin's outrageous method-acting licks seem to come from another planet, and why is everyone so crazy about Terry Moore? Or are the boys really crazy about each other? Fans of Seinfeld be sure to look out for Uncle Leo when he was a young thespian -- and already doing the annoying shtick he later perfected in that series.

Lee Marvin's "Slob" character alone makes this worth viewing, although the espionage film is a bit talky and stagy. Still, Marvin is a real hoot, right from the beginning, and provides a few neat surprises near the end. "Slob" is the name of his character, and it fits.

Otherwise, the film is an insult-fest with everyone trading barbs at one another. Some of them are pretty funny. Keenan Wynn as "George," the diner owner, is involved in many of the put-downs but Terry Moore has a lot of good lines, too. They reminded me some good film noir dialog.

Moore plays the blonde bimbo, "Kotty," a self-proclaimed "hash-slinger" who has good looks and figure and isn't as dumb as she sounds. The guys all call her "tomato" during the story, a popular slang term for babes back in the '50s. All the guys in here are hot for Kotty, and you can't blame them.

Several characters in here aren't who they appear to be, beginning with Frank Lovejoy's professor role, so the movie does keep you guessing.

This is an odd film, a B-atmosphere with an "A" cast. It includes some strange scenes such as the goofy weight workout at the diner with Marvin and Cobb, and later a dry-land snorkel-thon between Cobb and Whit Bissell. Speaking of the latter, Bissell is a familiar face. He did a ton of TV shows in the 1950s through the 1970s. I saw him on a number of Lone Rangers episodes but he also had multiple appearances of Wagon Train, Peyton Place, The Virginian, Perry Mason, World Of Disney, The Rifleman and many, many more shows.

This is one of those strange films where overall, it sucks - let's face it, but many individual scenes make you just laugh out loud, meaning it had enough entertainment to have made my (and others here) time watching it worthwhile......barely.

Amusingly odd second-feature from Allied Artists Pictures stars Terry Moore as a beanery waitress who has high ambitions--studying for her Civil Service exams! Moore and restaurant-owner Keenan Wynn end up tangling with nefarious Lee Marvin, posing as a short-order cook. Hilariously outré mix of moody melodramatics, campy nostalgia, gruff film noir and patriotic flag-waving. Moore is quite appealing spitting out her juicy, hard-bitten purple prose, Wynn also good (if puzzlingly dopey) in a supporting role apparently written for stray laughs. In fact, the entire film is amiably half-witted and almost endearing. Fine cinematography by Floyd Crosby includes an amazing opening shot of Terry on the beach! ** from ****