La cuna del mar

Alan Ladd, Rod Steiger, Michael Callan, and Delores Dorn star in "13 West Street," from 1962.

This was Alan Ladd's last starring role, and, frankly, it was heartbreaking to see him. He looks all washed up and shows the effect of his alcoholism. He plays an aeronautics engineer. Walt Sherrill, who comes up against some juveniles and is badly beaten by them, left with a broken leg, a concussion, and other injuries. The biggest injury seems to be to his psyche.

Dissatisfied with the progress of one Detective Koleseki (Steiger), Sherill hires a private detective (Stanley Adams) to help track down his attackers. The kids seem to be from a good school and good families.

It's not long after he returns from the hospital that he and his wife (Dorn) begin to receive threats, warning them not to continue the investigation. Sherrill is driven to take the law into his own hands, to the consternation of Koleski and Mrs. Sherrill.

Juvenile delinquency was a hot topic in the 1950s. Of course, what was considered juvenile delinquency then - souped up hot rods, talking back to parents and teachers, and chewing gum, seems like good etiquette now. Here, Michael Callan, Chris Robinson, and Arnold Merritt are spoiled kids whose parents let them get away with murder. Landry (Callan) is the one with no conscience, and he has control over the other kids.

Of interest to me was the Mrs. Cleaver concept of Ladd's wife, Dorn, and the mothers - Jeanne Cooper and Margaret Hayes - being impeccably dressed mid-day and not seeming to do much other than relax by the pool or mixing a drink.

Rod Steiger is excellent as a careful, calm detective who doesn't get rattled easily; beauty pageant winner/stage actress/acting teacher Delores Dorn is lovely as Sherrill's wife.

Alan Ladd had a short but very successful career. He had a Grapes of Wrath childhood, he watched his mother poison herself and die, he was of small stature - that he became such a star, had a family, and made it to 50 was a miracle. He left a strong legacy. That's how I want to remember him.

I saw this film with my dad at the now long gone Miami Theater on Flager Street in Downtown, Miami, Florida when I was a kid. I remember it being in black & white, and that Alan Ladd looked tired and worn out. But, if you're a fan of Ladd, this film is a must-see. Again, as is the case for most fading, washed-up actors, even though the film is third rate, the script fair, and the budget no-where to be seen, Ladd gives a talented performance. It's far from his best(Shane), but you can see that he's giving the best-he-can, with what he had left. Only about 50 here, he looks to be in his mid-60s. However, he still had that lean, trim, build, and that look of confidence. A fine supporting cast adds to this out-dated period piece. Made in 1962, it is corny stuff, but surprisingly was a prediction of the "senseless" violence to come. Better than you'd think.

I had fairly low expectations going into this one, but the film quickly churns into full noir-ish life as one of the last of what was to be a dying breed of movie--a psychological thriller pulling us close to the world of the always fascinating Alan Ladd as he runs head on into forces beyond his control. (I disagree that Ladd's personal problems detract from his performance at all. In fact to me the intentional darkness of the mood is simply strengthened by Ladd just as he was able to do in a dozen other gripping dramas both large and small. This is a "small" drama, to be sure, but none the less intense and intriguing.

A plot theme emerges here treated the way a great noir director of the 40's might have treated it--pathological youth violence, a real social problem often glossed over {Rebel Without A Cause, for example) or in later 1960's films glamorized and turned into the iconic images for a new generation.

But here it is--stark, vicious, mindless, and cruel just because people can get away with it. This is a brave and unflinching film and a real treat for those who appreciate the genre. Keep your expectations modest and it will surprise you quite happily!

It was not very long into viewing this film that Alan Ladd was at the end of his career in Hollywood, his problem with Alcohol were starting to get the best of him in his eyes and face and even makeup could not hide the demon's he was facing in real life. Walt Sherill,(Ladd) plays the role of an aerospace engineer and very successful and married to his wife, Tracey Sherill, (Dolores Dorn) in a very nice home in the suburbs. One night as Walt is leaving his office he runs out of gas and starts to walk to a telephone when he is almost run down by a speeding car driven by delinquent juveniles. Walt yells at them and they proceed to go back to Walt and beat the living day lights out of him. It is from this point in the film which becomes very interesting and Rod Steiger, (Det. Sergeant Kileski) gives an outstanding supporting role which makes this picture a success. It is sad to say that this was Alan Ladd's last starring role in Hollywood and two years later he passed on to a greater stage.

As Alan Ladd's last starring role, this was a pretty good way to finish his all-too-short career. While it's not the best thing he ever did, it is one of his better films. Unfortunately, for me, a real fan of Ladd, it's also a bit tough to watch because he's obviously suffering the effects of advanced alcoholism--with a puffy look about him and slightly slurred speech. In addition, at times his performance was a bit limp--though at other times, particularly at the end, he was able to rouse some of that old Alan Ladd energy and anger.

The film is about a decent man who through no fault of his own is badly beaten by a group of young spoiled rich thugs. The problem is that the information on who did this was scant so catching the thugs looked uncertain. Plus Ladd had a lot of trouble getting on with his life--particularly when members of this little gang began threatening him and his wife. From that point on, Ladd is a bit like Captain Ahab--with an almost incessant need to find and punish the teens. Surprisingly, Rod Steiger underplays the role of a decent detective who is investigating the case (he sometimes seemed to overact in some films--here he was perfect). He's trying his best to find the boys AND keep Ladd from getting himself in trouble for being a vigilante.

Add to this basic plot decent acting, a very good and suspenseful script as well as a very adult plot for 1962 and you've got the formula for a very good drama--far better than many of the mediocre films Ladd had been making through much of the 1950s and 60s.