Mein Revolver war schneller

I have never read any of the Mike Hammer novels so I cannot comment on how faithful the film adaptations are but I have seen all the films.

This film has a plot similar to the previous Mike Hammer film KISS ME DEADLY. As in the latter film Mike Hammer helps a girl escape from a gang of thugs, but the girl later turns up dead. Mike meets a women whom he thinks is trying to help him solve the girls murder, but like Gabrielle in KISS ME DEADLY, she is really working for the bad guys. The bad guys are lead by a retired English army officer who is trying to recover stolen Nazi loot he smuggled out of Europe after the war. Robert Bray is adequate as Mike Hammer, but he is no Ralph Meeker. But his Mike Hammer performance is light years ahead of Biff Elliot's or Armand Assante's.

The quintessential Mike Hammer (Robert Bray), haggard, menacing, but essentially a decent guy in a dirty world inhabited by ruthless killers, gets involved in the murder of a young aspiring actress, who only the night before he had met at a lonely downtown diner, and had helped out with bus fare back to her native Nebraska. Her death was related to a piece of jewelry she was carrying, part of a cache of stolen war time jewels. Forced to get to the bottom of the murder, not for money but because of his connection to the girl, he unravels the mystery in the typical Hammer fashion of payoffs and beatings. Released two years after Aldrich's Kiss Me Deadly, MGiQ is the poorer man's version, though it has its own charms, mostly in the way of the LA settings and Bray's portrayal, tired and unshaven, but with the determination of a pit bull.

A private detective (Robert Blay) helps a prostitute being assaulted, and notices that she is wearing a unique ring. She is later found murdered and there is no trace of the ring, which turns out to be part of a cache of jewelry stolen by the Nazis during World War II.

This is apparently what a B-movie film noir looks like. No actors whose names mean anything to me (including star Robert Blay). Made by United Artists, and then acquired by MGM. Now probably sort of in limbo from the financial mess of MGM...

But you know what? Low budget or not, lack of star power or not, this is a pretty good story with a cool detective, some ladies of the night, shady characters...

Director and producer Victor Saville gave us THE LONG WAIT three years earlier, also inspired from a Mickey Spillane - and Mike Hammer's advanture. I don't quite rememeber this previous film, I have it in my library however, but none of both are as excellent as KISS ME DEADLY from director Bob Aldrich, starring Ralph Meeker, the best Mike Hammer for me. But this very one remains a good time waster in terms of gumshoe scheme, ust the usual predictable stuff, and rather hard to get. I have already seen it several times since thirty five years and I can't remember it each time I see it...But don't miss it if it is available somewhere.

Unfortunately, Bray's bland version of iconic Mike Hammer can't hold together an over-extended 90-minutes. I might have responded differently had the actor evinced more than one emotionless expression and ditched that perfect wardrobe right out of Gentleman's Quarterly. Then too, there's that meandering screenplay whose threads come and go-- but crucially fail to weave anything like good suspense.

Now, I'm no fan of the Cold War's "a slug in the commie gut" Mickey Spillane, but the movie as a whole fails to project his particular brand of blue-collar gusto. And that's despite the many half-clad babes that parade in and out. Also, looks to me like the screenplay goes awkwardly out of its way to emphasize Hammer's principled core. That's probably to reassure 50's audiences that this is not Spillane's ethically challenged version. In that sense, the movie's a somewhat revisionist working of the decade's favorite PI.

Still the movie manages a few positives, especially Jan Chaney's beautifully shaded performance as a forlorn hooker named Red. It's one of the more subtly soulful turns I've seen. Note too how that same opening scene registers Hammer immediately as a tough guy but with heart. Then there's a good traveling look at LA's notorious freeways, which must have been an early morning shoot before the system-wide jam starts. Note too,the big glimpse of 50's upscale decor. No wonder this Hammer only parades around in fine suits. And I liked that imaginative junkyard set-up that proves even recyclables can be a menace.

What the movie really needs however is a strong touch of style. I'm just sorry proved stylists like those of of Kiss Me Deadly (1955) didn't have a hand in this pedestrian production. As things stand, the programmer remains an appropriately obscure entry in an otherwise durable franchise.