Der Henker saß am Tisch

This film stars Edmund O'Brien as a scheming and brilliant mobster--a far cry from the good guy roles in Film Noir films such as DOA and WHITE HEAT. It seems that although at the beginning of the film he's a simple worker for the phone company, he is an expert with electronics and phone lines, so he's able to help a small California mob grow until it controlled the entire state's bookmaking operation. Not content to be just a bit player, he works his way up to the top of this mob until the "big boys" back East recognize his worth and they want a piece of the action. At first, things work out well for O'Brien and he becomes very rich with this new arrangement. However, over time, this relationship sours. Eventually, O'Brien's greed and feelings of invulnerability take their toll--leading to a stirring finale at Hoover Dam.

As expected, O'Brien did an excellent job and he was one terrific actor--particularly in his gangster films. O'Brien's love interest is Joanne Dru, who plays a screwed up lady who wants to see O'Brien go straight but does nothing to actually change him and also does a lot to excuse his excesses. The national syndicate is headed by veteran actor Otto Kruger, who does a nice job playing the "sophisticated and cultured" thug. Oddly, Howard St. John plays the honest and determined police detective bent on stopping O'Brien--since in most films St. John plays heavies or weak-willed jerks.

Overall, it was a very engaging and original Noir film. In particular, the electronics angle was very, very high-tech for 1950 and still was intriguing today. Also, while this film isn't so violent or full of colorful Noir lingo, it does have enough to satisfy fans of the genre. Overall, it's a very good film but a far cry from the greatness and excitement of the better examples of Noir due to its occasionally heavy-handed "crime does not pay" message. As for me, I prefer my Noir a bit more on the cold side.

After seeing this movie, you may not look at a telephone repairman the same way again. Actually the result seems closer to the Cagney films of the thirties than to the noirs of the forties. For phone lineman Eddie O'Brien, it's a success story, as opportunity, know-how, and drive propel him to the top of the bookie racket. Fortunately the always energetic O'Brien makes the transition from working stiff to bookie king-pin both dynamic and believable. Then too, we meet some interesting people along the way, including smoothie Otto Kruger doing his best imitation of a smiling cobra, even as young marrieds Joanne Dru and Don Porter practice their 1950's version of open marriage. And in a usual thankless part, moon-faced Barry Kelley who bull-dozes everyone within reach through eyes so pinched, they're barely more than razor slits. Still, it's unheralded bit actors like him that really make movies like this work.

Director Joe Newman keeps things moving nicely, even the colorless scenes featuring the forces of law and order don't bog down the pacing. There're also some good location shots in and around LA, with an exhausting climax up and down the the stairwells of Boulder Dam as the giant turbines hum in the background. (I wonder how they get ordinary people who probably just happened to be at the dam that day, to be so natural with a movie camera and crew staring them in the face. Somehow they do.) My favorite part is setting up the "past-posting" scheme, showing how every technical innovation presents a criminal mastermind with a twisted opportunity. All in all, 7-11 may not be a jack-pot dice roll, but it is a decent thriller, entertaining if not exactly memorable.

711 Ocean Drive finds Edmond O'Brien as just a working stiff, toiling away at a job for the telephone company and getting a bit behind in with his bookie. Fortunately the bookie, Sammy White, is an understanding guy and recognizes talent when he sees it. He takes him to wire service operator Barry Kelley who controls the illegal gambling in Southern California and Kelley puts O'Brien to work, modernizing the business.

That's the beginning of O'Brien's rise in the gambling rackets. He's talented, but his reach exceeded his grasp, especially when he started reaching for Joanne Dru while she was still married to racketeer Don Porter.

There's a lot of similarity between O'Brien and Humphrey Bogart in High Sierra. They're both talented, at the top of their respective trades. We only see Bogart at the downfall of his career. Still that climax which takes place at Hoover Dam was definitely inspired by High Sierra.

Besides those already mentioned look for good performances by Howard St. John as the honest cop on O'Brien's trail, Bert Freed as the syndicate's number one hit man, and Otto Kruger the very smooth syndicate boss who never gets his hands dirty with the details.

711 Ocean Drive is a very nice noir film, made at the height of Edmond O'Brien's career as a B picture leading man.

"711 Ocean Drive" is an interesting '50s film noir set in Los Angeles. Edmond O'Brien stars as Mal Granger, a nice telephone repairman who is into a bookie for some gambling debts. The bookie makes a deal with him and, since he's a technician, has him do some modernization on the illegal gambling in the area that uses the wire service. The O'Brien character turns out to be pretty ambitious and greedy and starts making his way up the ladder in the syndicate. He does well until some guys from the East coast show up and want some of his action.

The O'Brien character really changes from the beginning, when he's a relaxed, friendly guy. Then he becomes ruthless and murderous. O'Brien does a great job in making this change believable. There are also very good performances from Howard St. John as a police officer, Bert Freed as a hit man, and Otto Kruger as a mob boss. Joanne Dru is the object of Mal's affections, although she's married to someone else.

Seeing Los Angeles in the '50s is one of the best parts of this film. Recommended for Edmond O'Brien, the scenery, and the noir style.

The address of Edmond O'Brien's posh Malibu digs -- 711 Ocean Drive -- lends the title to this semidocumentary noir about bookmaking. Unfortunately the movie is bookended by sermons instructing viewers on their civic responsibilities: the two bucks you put on a horse go straight to graft and murder! In between, it's not bad. O'Brien, always better supporting than, as here, in the lead, is a money-grubbing telephone technician who brings his electronic expertise to the illegal-betting circuit. The profits his innovations generate oil his swift climb up the syndicate ladder; his ruthlessness greases his slide down. Along the way, the movie casually includes what may be the first Hollywood episode of severe wife-battering, perpetrated on Joanne Dru. At the end, O'Brien's grasping ambitions are dwarfed by the enormity of Boulder Dam, and viewers are left with a sense of his brief notoriety being but a single cog in a vast, unstoppable crime machine. It's a dated message in a time when, increasingly, gambling with the government's blessing has become the new civic responsibility.