Walk the Dark Street

What we have here is a low-budget film featuring a pre-Rifleman Chuck Connors, helmed by Corman vet Wyatt Ordung. The on-location filming, of Connors being hunted through the city streets, helps this one quite a bit. And the scene on the ferryboat makes this film. The camera's POV, showing the hunter and the hunted, moving about the ferryboat, builds the tension nicely. It's a well-shot cat and mouse segment -- just one wrong move and their paths will cross! I won't give the outcome away but this film delivers the goods. Wyatt didn't direct a lot of films and supposedly Corman stiffed him on his salary for an earlier film, but this film shows some good directing chops.

This is considered film noir because it's poorly lit. Chuck Connors just starting out. I once saw Chuck Connors ask John Wayne About his real name Marion. John Wayne did take the bate and had no problem acknowledging his real name. Would have been great to see these two giants spar but the Lone Ranger Clayton Moore and Cheyanne Clint Walker were there and it was all friendly. Anyway this was made on a shoestring in 50's LA and meanders along but could have been great with better scripting and people with talent. In the end it's pointless. I had teacher say all good stories are a chase, the only problem with that theory is the end has to pay off and this payoff is pointless.

Best known for some classic "B" science fiction films of the 1950s such as MONSTER FROM THE OCEAN FLOOR, writer/producer/director Wyott Ordung attempted to work in the LA film noir/psychological drama vein with this 1956 rarity, taking the classic "Most Dangerous Game" scenario as a starting point, but reinventing it in a very novel way. I don't want to give too much plot away as the film unrolls in a surprising way. Chuck Connors, although best known for his Western roles and his fatherly manner on The Rifleman, plays over-the-top psycho roles well (see DEATH IN SMALL DOSES for proof!), and does so here, pitted against Korean War vet Don Ross (billed as "introducing"). It's an interesting psychological game of wits. Although many of the expository scenes are shot on a few small sets, much of the action takes place on the streets of 1950s Los Angeles, fascinating to look at and giving the film a wonderfully gritty and authentic feel. The film also has the ironic development of a Twilight Zone or Thriller episode, but further developed to feature length. This seems to be a unique entry in Mr. Ordung's filmography, and it shows that he can work well within the low-budget crime drama field with minimal resources because he can as a writer and director create tense situations and he had the good sense to hire actors such as Chuck Connors. Don Ross is fine too, although he is the down-to-earth one here and other than being tough and ingenious is not given the opportunities for histrionics that the script gives to Connors. Perhaps because Ordung is a "cult" name in Science Fiction circles, someone will do a video/dvd release of this little-known gem--I certainly hope so. It is due for re-evaluation. (It has a vague resemblance to CONFESSIONS OF A PSYCHO CAT, made ten years later...although that is probably coincidental. PSYCHO CAT was the first film I thought of while watching this)

Don Ross returns from Korea and calls on Chuck Conners. Conner's brother was in Ross' platoon and had been killed. The two chat. Both are big game hunters, but Conners has a new twist. He has a big game rifle, but the bullet has been replaced with a camera. He wants to hunt people in the city. When he pulls the trigger, there's a snapshot with a time stamp. He challenges Ross to a bet: they stalk each other, and the winner walks away with either a thousand of Ross' money or ten grand of Conners. It's a good gamble as far as Ross is concerned. A field-promotion second lieutenant doesn't pull down much, and while he was away, his partner let the business go to pot and failed to pay the insurance just before they had a fire.

So they shake hands on it, and Ross walks away with a rifle set up with a camera in the barrel. Whereupon Conners replaces the camera in his with a 30-30 shell. His brother had written him that Ross was a tin g*d and would probably get them all killed. So he's going to get some revenge.

It's an interesting variation on THE MOST DANGEROUS GAME. Writer-Director Wyott Ordung shoots most of it in medium length stolen shots, showing the two men looking for each other, vanishing around one corner as the other comes around another. It didn't quite work for me, looking almost foolish the fifth or sixth time it happened, rather than suspenseful. The subplots also miss by a hair: Conners' bum ticker, his brothers' girlfriend who thinks he's crazy.

Also, the times have changed: two men walking the streets of Los Angeles carrying big game rifles are going to be shot by the LAPD. But kudos for a nice idea.

Frank Garrick is a big game hunter, but he has a bad heart and is also mentally unbalanced. He unfairly blames Dan Lawton for his brother Tommy's death in Korea. When Dan visits, Frank proposes a stalking game using photographic rifles and trying to get a photo of the opponent. Dan gets $10,000 if he wins. Dan agrees and the game is on throughout the city, but Frank has secretly loaded his rifle with a real bullet. Also stalking Dan is Tommy's fiancé, Helen Leyden, who also blames Dan for Tommy's death. But, after picking up Dan in a bar, Helen falls in love with him after spending about two minutes of idle chit chat. Helen becomes Dan's ally in the game. Watch the movie to find out how it all turns out.

For awhile, I thought maybe I was watching another masterpiece from Coleman Francis. Anybody remember the classic "Red Zone Cuba?" But unlike Francis' movies, WTDS uses a few actual actors who do their best. Chuck Connors as Frank wears a grown out flattop haircut. He would become a TV superstar a few years later as "The Rifleman." Don Ross plays Dan. He would become a regular supporting actor on Jack Webb's "Dragnet" TV series in the 1960s. Underrated Regina Gleason plays Helen. She really emotes in a lot of her scenes and her overacting is quite noticeable here. In 1964, Regina was cited by an LA traffic cop for wearing sunglasses that were too thick! She fought the case in court, and after speaking with the DA, she got the case dismissed.

If you can tolerate the long pauses between the actors giving their lines, the bad script, the awful editing, and the unbelievable and impossible occurrences in WTDS, you might be able to sit through its 73 minutes. I did and i still live!