Kokain

Enjoyable minor film noir with a good cast, tough dialog, and interesting locations. Dan Duryea and Tony Curtis (in a non-speaking role) would appear the same year in CRISS CROSS, while John McEntire and Barry Kelley would be in THE ASPHALT JUNGLE the following year. Also in the cast Shelley Winters and Howard Duff.

This is a frequently used plot of a government agent or policeman secretly infiltrating a criminal organization and it works very well with Duff and especially Duryea, playing the leads. Winters is a sympathetic call-girl and McEntire is great as a duplicitous character. The day-for-night locations in Mexico (or a stand-in for it) are dramatically shot with overhanging clouds and trees that seem to glow in the shadows. William Castle directs and he's at his best. Not a major noir by any means, but a fine film that deserves to be restored.

The movie starts off like a police procedural of the period, but twists into something quite different and intense. Howard Duff is a cop and Dan Duryea is a criminal who infiltrate a drug mob. Both are top notch actors who keep us guessing as to what they're really thinking. Shelley Winters is sexy as the girl who flirts with both in order to escape from her life as a gangster moll. Hanging around on the edges of the film is Anthony (Tony) Curtis. He is quite chilling portraying a cruel thug without saying a word. This was the 24 year-old Bernard Schwartz's third film, but the first one where he is really generating interest. William Castle is known as a director of gimmicky films, but he has some surprisingly effective horror films, "The House on Haunted Hill," and "the Tingler" to his credit. This movie is also surprisingly effective.

Feels fairly by-the-numbers but, honestly, it's also a ton of fun. Solid cultivation of suspense, really fun characters and a fantastic ending. I recommend it!

In what I rate as the greatest year in the golden age of movies, 1949, the ever reliable William Castle cranks out what would seem to be a routine B programmer about federal agents getting in the thick of crime (drug smuggling) to weed out some highly execrable outlaws, only this time Castle has a super cast at his disposal which clearly lifts this noir above B status.

To Castle's credit, he extracts very good performances from Duff, Winters, McIntire, Kelley and, especially, Dan Duryea, a con doing time who has sworn revenge against US Treasury agent Duff, but turns out to be more decent than imagined after seeing his wife killed as a consequence of consuming narcotics.

Soaring above the film's lofty acting standards, Duryea posts possibly his career-best show in a rare and surprising role as a seemingly inveterate baddie with a decent streak which ultimately redeems and finds him love and happiness. The revenge he warns Duff about turns out to be the wonderful woman who recognizes his worth in the end.

Winters and McIntire also deliver superb performances, the latter as the cold and calculating master villain. Interesting to note that the following year, 1950, Duryea, Winters and McIntire would re-assemble in one of the greatest Westerns ever, WINCHESTER '73.

As would a very young Anthony (Tony) Curtis, who in JOHNNY gets a small and wordless but crucial part as a baby-faced good for nothing... other than killing.

Cinematography deserves considerable praise throughout, the highlights being the early scenes at a dockyard, the apparent alacrity of all in a restaurant/dancing room, and the hangar at the end.

Chases and other action sequences are crackingly well staged, including the shootouts and, above all, the decisive plane-police car crash.

True, the script does not rise above some predictability, but then it is based on true FBI reports, and you know that good will win over evil. Thank God!

Federal agents risking mortal danger to infiltrate criminal syndicates supply one of the basic templates for film noir. The crooks can variously be counterfeiters (as in T-Men) or traffickers in illegal laborers (as in Border Incident) or, here in Johnny Stool Pigeon, heroin smugglers.

Those first two films were by the resourceful Anthony Mann; Johnny Stool Pigeon is by William Castle, no Mann but later to become the king of cheapie horror flicks after an apprenticeship in noir (his When Strangers Marry may be the best of his juvenilia).

It's a creditable if not especially memorable effort, thanks mostly to a cast headed by Dan Duryea, Howard Duff, Shelly Winters (in her sexpot phase) and, in a non-speaking part, young Tony Curtis (here billed as "Anthony," a better billing than he got in the same year's Criss Cross, where his manic rhumba with Yvonne De Carlo went uncredited).

Narcotics cop Duff knows his only chance to crack an international drug ring is by springing a convict (Duryea) whom he'd help put in Alcatraz. The oil-and-water team of unwilling partners travels from San Francisco first to Vancouver then, gang moll Winters in tow, to a dude ranch near Tucson run by the mob.

The plot's volatility depends on the possibility of Duff's being sold out by Duryea or recognized by Curtis, who spends half the movie knitting his brows in an effort to remember where he'd seen Duff before. Reckoning finally comes at a dangerous drug buy at the Nogales border crossing.

As a straight arrow, Duff's not bad, though in more ambivalent roles in movies like Shakedown or The Naked City, he can turn into a slithery chameleon. The reliable Duryea does his soured cynic number -- he had it down pat by now. Winters adds a dash of hot sauce, but it's a sketched-in part at best. Johnny Stool Pigeon adds up to a pretty routine hour-and-a-quarter of noir -- but that's far from faint praise.