La carte forcée

Idealistic and respected newspaper editor Walter Pidgeon (as Haven D. Allridge) is accosted by corrupt sheriff Thomas Gomez (as Kellwin "Casey" Burke) in a nearby town and treated poorly in jail. Vowing to "skin this tin badge off that sloppy shirt of yours if it's the last thing I do," Mr. Pidgeon wants his newspaper to help blast the nasty Sheriff out of office. Then, suddenly, he becomes "The Sellout" and stops his exposé. Following a likely murder, state attorney John Hodiak (as Charles "Chick" Johnson) and detective Karl Malden (as Buck Maxwell) attempt to prosecute the case, but find Pidgeon uncooperative. The transition of leading men is awkward, but this is an engaging little drama, with a nice supporting cast.

****** The Sellout (5/30/52) Gerald Mayer ~ John Hodiak, Walter Pidgeon, Karl Malden, Thomas Gomez

A reporter (Walter Pidgeon) happens to go through a county in the countryside. He is pulled over by the cops and arrested--though he'd done nothing. Then, in court, he sees that one by one, innocent folks are being shaken down by a corrupt sheriff and a corrupt judge. So, he makes it his crusade to bring down these crooks. As he digs, Pidgeon sees that this organized crime runs deeper--these 'cops' help run illegal gambling and various vice operations! When he appeals to people higher up in the state government, people are reticent to do anything--after all, that county brings votes to the state party machine. What can be done? Eventually, Pidgeon's articles have an effect and John Hodiak is sent from the state prosecutor's office to investigate. But his case isn't easy--as the reporter has just disappeared and so has his file on the corrupt county.

Some time later, Pidgeon returns home--briefly. There's not much of an explanation where he was, he's ready to move to Detroit and he has no interest in following up on his articles on corruption. It's obvious he's scared and has no intention of continuing. Can Hodiak change his mind? He sure needs Pidgeon's help with the investigation.

All in all, an exceptional film--tough, exciting and well-acted. My only quibble, and it's a little one, is that the film is a tad preachy at the end. Still, it's a nice film--well worth seeing--especially since the cast was so capable. In addition to Hodiak and Pidgeon, the film has support from Audrey Totter (who plays a great dame), Thomas Gomez (who's almost always the heavy), Everett Sloan, Cameron Mitchell, Whit Bissell, Karl Malden and Frank Cady (Sam Drucker from "Green Acres")--a very impressive list. It was also cool seeing Burt Mustin playing the corrupt judge--the sort of role you wouldn't expect from this fun character actor.

The Sellout is a good B picture crime drama out of MGM using a solid heaping helping of their B picture contract players.

Newspaper editor Walter Pigeon and a friend Whit Bissell get caught up in a speedtrap in the rural part of the county they reside in. Given the Code was in place in 1951, I'm sure they would have been brutalized far more graphically in the jail of Thomas Gomez the corrupt sheriff of the county. Still and all it's enough to fill Pigeon with a firm resolve to get Gomez. Even without the help of local prosecutor Cameron Mitchell who is Pigeon's son-in-law.

But a crusading special prosecutor from the State Attorney General and an honest city cop played by John Hodiak and Karl Malden respectively get into the picture due to Pigeon's hard hitting articles. There's far more than a speedtrap involved. Then Pigeon's ardor suddenly cools.

I think that anyone who's seen a lot of movies can figure the ending out from here. But these are a good group of some of the best players around. One other reviewer mentioned that Audrey Totter's role as a woman of easy virtue is left up in the air. I would guess the editors had more to do with it than anything else.

Thomas Gomez delivers the best performance in the film. He's a viciously evil man and he drives his corrupt lawyer Everett Sloane crazy. Sloane tries very hard to fix things without violence or crudity. But Gomez just can't be controlled.

It's a good film, very much like The Phoenix City Story that would come along a few years later.

MGM wandered out of its league when it made "The Sellout" and the result is a mildly entertaining thriller that doesn't have much tension. All the pieces are in place -- Walter Pidgeon as a crusading newspaper editor, John Hodiak as a government sleuth, Audrey Totter as the sexy pianist at a sleazy roadhouse. But whereas Warner Bros. would have given the tale a hard edge, it comes up sorta' soft in Metro's hands. Perhaps the best performances in the film go to the villains, led by Thomas Gomez as a brutal, corrupt sheriff and Everett Sloane as his smarmy mouthpiece. They're fine. But something's not quite right when the villains stroll off with the movie.

1951, the Kefauver congressional committee on organized crime and corruption is making headlines, and MGM under new head Dore Schary is trying to make that famously big-budget studio relevant to news of the day. The trouble is that the so-called Tiffany of studios just doesn't have the same feel for gritty material as a Warner Bros. or an RKO. Too bad this film doesn't sustain the harrowing feel of the first 15 minutes, when prominent editor Allridge (Pidgeon) is brutalized after a minor traffic infraction by corrupt Sheriff Burke (Gomez). Allridge's ordeal has the feel of a "sudden nightmare" to it, as if he's been abruptly forced into a savage new world where the old civilized rules no longer apply. It's a backwater county run by the sheriff like a private fiefdom and a jailhouse where inmates rule once the cell door slams shut. I like the way we're shown the difficulties state prosecutor Johnson (Hodiak) encounters in trying to rid the county of Burke and his outlaw regime.

Still and all, the longer the movie lasts, the more momentum it loses, ending with a final 20 minutes of plodding courtroom procedure. There's still some suspense in the air (why did Allridge skip town), but the initial energy has long since dissipated. At least part of the problem lies with uninspired direction that can't sustain the early sense of tension and evil. Too bad noir maestros like Phil Karlson or Anthony Mann weren't running the show. Those reviewers contrasting this film with Karlson's similar Phenix City Story are right on target. Nonetheless, the movie does have its moments, along with a vibrant turn from the under- rated Audrey Totter who never seemed to get the recognition her talent deserved.