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Jeopardy is a B movie, and it's sad to see the wonderful Barbara Stanwyck reduced to doing it. It is, however, not without merit. Stanwyck plays a wife and mother trying to get help for her trapped husband, Barry Sullivan. She runs afoul of Ralph Meeker en route. Now, here's the thing. He refuses to help her husband unless she has sex with him. As you can imagine, this being the 1950s, this is in the subtext and so far down that if you're not paying attention, you miss the implication.

This makes Jeopardy a cut above your standard B, especially because of the presence of Stanwyck. She's certainly desperate to save her husband, but the film raises some interesting questions. Meeker was more rough and tumble than her husband - was she perhaps attracted to him? Definitely worth seeing.

JEOPARDY doesn't deserve the brickbats it's getting from other viewers who think of it as little more than a B-film, a quickie in the career of Barbara Stanwyck.

Nonsense. Stanwyck was still a terrific actress and uses all her skill to keep this a taut woman-in-peril kind of story that starts out innocently enough but then shifts into high gear the moment her husband is trapped under some rotten pilings from a pier.

Nor is the plot a foolish one. Clearly, it's the kind of incident that could easily have happened on an isolated beach in Mexico, with Stanwyck unable to find an English-speaking person to help her when she and her small son are unable to free Sullivan as the tide rises.

It just so happens the only person able to understand her predicament is an escaped convict running from a murder charge (Ralph Meeker). The moment Meeker appears he lifts the film into a new realm of suspense, so convincing is his portrayal of a Stanley Kowalski-type of character without anything but self-preservation (and sex) on his mind. Meeker never had a better showcase for his machismo appeal.

Because of production code rules, the film fails to make more of the sex angle including Stanwyck's decision to be more cooperative with the man who clearly might do her a favor if she does him one. By glossing over this angle and merely showing Meeker grab her in a couple of tight clinches, the film loses some of its impact when she returns with him to help her husband.

Nevertheless, it's a brisk, tightly constructed story around a simple theme and it works beautifully. John Sturges doesn't waste a moment of the film on any sub-plots but stays firmly fixed on the woman's dire predicament and all of the tension the viewer must feel watching Stanwyck's distress mount, knowing that her husband is in even more peril than she is.

It's a much better film than cited here--definitely worth a look.

Jeopardy is a tense, satisying thriller, a cut above a B but not really a major production. It qualifies as almost an experimental film, as the studio that produced it, Metro, was desperately looking for new kinds of films, stars and directors to compete with the then new medium of television. The director, John Sturges, was an up-and-comer whose best years lay ahead. He had just recently begun directing A level films, and had already proved himself a most capable craftsman. Stars Barbara Stanwyck, Barry Sullivan and Ralph Meeker, were at very different phases of their careers. Stanwyck's glory years were behind her, and yet she could still carry a film, as she proves here. Barry Sullivan, as her husband, was one of a dozen or so leading men who got started in films in the forties who never quite achieved the success many had hoped for him. He was a fine, low-key actor, poised, but in an upper middle rather than upper class way, which made him excellent in professional roles. As the escaped convict who is the only person around who can save Sullivan's life (he is trapped under a pier, and the tide is rising), Ralph Meeker is more energetic than usual. This excellent actor had the misfortune of having come to films after Brando and Clift. He was in his way as good an actor as either of them, but he lacked charisma. His bargaining with Stanwyck, which comes down to his demanding sex in exchange for saving her husband (by implication only, as this is 1953), makes for an intriguing premise which, had this been a different kind of film, could all raised all sorts of interesting questions about Stanwyck's character. Meeker is indeed a more exciting character than Sullivan; and in her scenes with him Stanwyck is livelier than she is with her husband and son. But as this is a formula picture, not a Strindberg play, the possibility that Stanwyck might want want to have a fling,--leaving aside the question of her husband's predicament,--remains unexplored. In this sense the incoming tide doesn't quite have the effect one might have wished, though the movie remains tense and highly entertaining thanks to excellent acting, fine location photography, nearly all of it outdoors, and excellent direction by the woefully underrated Mr. Sturges.

A family (Barry Sullivan, Barbara Stanwyck and Lee Aaker) vacationing in Baja California encounter a life and death situation when the father (Sullivan) becomes trapped under a collapsed beam that was holding up a portion of a dilapidated and dangerous pier on an isolated beach. The situation intensifies with the rising tide. Wife Barbara Stanwyck goes off in the car frantically searching for help and encounters fugitive from justice Ralph Meeker. A fast pace between the occurrences on the beach as Sullivan and son Aaker try to come to grips with what is becoming a deadly situation and Stanwyck's intensifying relationship with Meeker make this movie significantly better than average, especially Stanwyck's attempts to get Meeker to go to the beach and rescue Sullivan. Meeker is chased throughout the film by Mexican police. His character is more complex than it looks. Stanwyck and Meeker share tense scenes as the day darkens, the tide rises, and the police close in. Directed by John Sturges, scene for scene this is a tough movie made on a small budget.

"Jeopardy" (MGM, 1953), directed by John Sturges, is not a movie about the behind-the-scenes look about the making of a popular TV game show, but a fast-paced suspense drama revamped from a radio play.

The story simply starts off with an all-American family, Helen Stilwin (Barbara Stanwyck), Doug, her husband, (Barry Sullivan), and their little boy, Bobby (Lee Aaker) of California taking a vacation by driving to Mexico. While there they park their car in a quiet but somewhat abandoned fishing village by the ocean where they decide to make their camp. Shortly afterwards, their adventurous son ventures on an old rotting pier, where he gets his foot caught. Father Doug goes out there and releases him by taking off his son's shoe. Moments later, Doug falls through the pier and ends up getting his own foot caught beneath a heavy pile on the beach at low tide. Unable to set his himself free, Helen leaves Bobby with his father to drive off and get help. Suspense builds after Helen picks up a stranger (Ralph Meeker) for assistance, only to soon learn that he is an escaped killer whose main interest is to elude from the police authorities. As she finds herself being held captive by this dangerous and heartless character with nothing to lose, the tide of water slowly builds that may soon be over Doug's head unless help comes.

What a neat thriller this is! Fast-paced and a real attention grabber that doesn't lose control of its audience. Stanwyck, as professional as always, starts off casually but changes into a fierce and desperate woman who becomes tormented after finding herself the victim of a desperate killer on the run, with her main interest is to get back to her husband in danger, and her little boy.

"Jeopardy," which is shown on Turner Classic Movies, is, according to host Robert Osborne, a movie based on a 22 minute radio play, "A Question of Time," extended to a tight 68 minute film. Not as well known as other thrillers of the day, especially those directed by Alfred Hitchcock, but this one is worth a look. Highly recommended for nail biters wanting to save money on manicures. (***)