Show Them No Mercy!

This is a delightful film about four guys who just received the ransom money for a kidnapping that they pulled off. Headed by Caesar Romero in a classic performance as the gang's leader this is a must see. The best part of the film starts a bit earlier as Rochelle Hudson and Edward Norris arrive at the gang's house for refuge because their car broke down close by in a torrential rainstorm. Hudson and Norris have their baby daughter and their dog with them. After retiring for the night the kidnappers return with the ransom money and hold Hudson and Norris captives and then the fun begins. It's a typical story that might not sound interesting but you'll love it if you watch it! All the acting is great, however, in my estimation, this film would have been a dud if it weren't for Hudson, the dog, and Norris. Romero even got some dancing in even though this movie isn't a musical. Hope you catch it.

This is a pretty decent kidnapping story with a unique, totally unexpected ending. It's also unusual in that almost all of the story takes place AFTER the ransom has been paid and the kidnap victim has been safely returned.

It also has a twist of nice couple being inadvertently involved in the crime. The crooks in here are entertaining to watch, particularly the leader "Tobey," played well by Caesar Romero. Some of Romero's sidekicks are stupid but just makes them interesting to watch. One guy, however, is a little bit too nasty. (This gang is not the most brilliant but their stupidity makes the film more fun.)

Where others here have described the action, story and actors, I thought I would present a different aspect of the film.

It is hard to determine why some films are well known and others are relegated to the background of the history of film. This film, though certainly not a masterpiece in any sense, however does demonstrate that a good writer can elevate, what might be thought of as a tired trope, into a solid, suspenseful and even intriguing product.

The script does not wallow in trite dialogue or overused witticisms. Certainly the arch-types of this film and it's era lends itself to worn out dialogue. Each character is well drawn out and there isn't one situation which one could say was unbelievable or implausible.

So many of these movies from the early 30s suffer from the expected "clunkiness" of the many new era film with sound. The graininess often helps the inexpensively wrought production values, here also in the sometimes mildly scratchy sound.

Yet, this movie presents us with a good mix between sets and actual locations which makes the overall product believable. There is charm but it is not overly exaggerated nor made for an artistic point.

I recommend this film for it's solid story, production values and strong performances by all.

Two decades before DESPERATE HOURS, you had this crime flick, which plot, scheme, is rather close in terms of atmosphere to the William Wyler's movie. Here Cesar Romero would be Bogie. You have here a typical good WASP American family - as usual in ninety percent of US films - held as hostage by a bunch of criminals on the loose - kidnappers here instead of escaped cons in DESPERATE HOURS. This movie is also the good opportunity to remind you that the director George Marchal was not a crime film specialist - actually he was only a very good professional yes man in any kind of films, ANY KIND - but he gave us this one and also THE BLUE DHALIA, starring Alan Ladd and his long time pal William Bendix.

This movie, about a young couple with a baby accidentally getting involved with a band of gangsters being hunted by the FBI, is one of the greatest obscure crime films of the 1930's. The pace is lively, the suspense is exhilarating, and the cast is just about charming and watchable as can be. Cesar Romero is incredibly evil in this film, Bruce Cabot is as sturdy and intense as he was in King Kong, and Edward Brophy is, as always, a ton of fun to watch.

Watching this film is like eating a bag of really good candy. It grabs you right from the start and then zips through the motions of it's thin plot with an efficient grace, hitting all of the right spots and not wasting a second.

It's a most satisfying film. See it and have a blast.