Le guêpier

An hysterical anti-communist screed dolled up in the drag of a police procedural, Walk East On Beacon simply isn't up to the task of alerting us to the dangers of a Fifth Column in our midst. Well filmed but weedily written (and based on a magazine article by the Dark Prince of the F.B.I., J. Edgar Hoover), the film stars Republican senator-in-waiting George Murphy as a G-Man hot on the heels of a Red sleeper cell. Murphy was never much of an actor, and here he's strictly in Jack Webb just-the-facts-ma'am territory. Location photography in Boston gives the film a boost, but overall Walk East On Beacon! can't match either the red hot emotional power of Pickup On South Street or the creepy intensity of My Son John, two other Red Menace films of the period.

We all know, propaganda - with shifting targets according to the years - has been at the core of U. S. (and other countries') mainstream film production from the very start. And we are all right with it, as long as it is treated with some delicacy, and, in the best cases, with some artistic goals in mind. Well, this is not the case for "Walk East on Beacon!", (1952, in the cold war era), where heroic FBI's members', as well as common citizens' efforts to counter the "red threat" are cast upon a plot lacking of whatsoever thrill. If you can stand all that, you should watch the film: an interesting specimen of its times' values. Be aware that the final scenes, as happens often in these movies, are quite concitated action shots in which is really difficult to tell what is really happening.

I'm very shy about the comparison that I now am proposing to you: an equally propagandistic film is 1959 Hitchcock's "North by Northwest". If you haven's seen it, please do, and you will understand what I mean.

This is definitely not a "hysterical anti-communist screed" but a plodding 1950's manhunt story with Westbrook Van Vorhees as the narrator.It would be simple to ignore the ineffective demagoguery of Joe McCarthy as based on fiction, but the U.S.S.R. did aggressively spy on the U.S. and other allies during and after W.W.2 and its party organization and members were totally controlled by Moscow. This whole picture was shot on location but it lacks the punch of such other realistic films as CALLING NORTHSIDE 777, BOOMERANG, IRON CURTAIN etc.

Murphy wasn't much of an actor and comes off as bland as he was when the host of MGM PARADE.

Egomaniac, Hypocrite, and Big Brother J. Edgar Hoover's stain is all over this Red Scare Movie. Another McCarthy Era Propaganda Piece that the Government, in League with Hollywood, pushed on the Public in the early Post War Years. It is a Movie that is Cold and without Emotion, ironically just like the Commies.

Among its many Sins, one is the way it inaccurately equated the Russians with the Nazis for nothing more than analogous Angst. Did anyone remember that it was just a few short Years prior that Germany invaded Russia, and Russia invaded Germany. They hated each other. But in the World of Government Mind Control, that memory is wiped.

This is an interesting Artifact of the Time to be sure, and a reflection on the Temperament. As Entertainment it is so stilted that the whole thing barely has a Heartbeat although it tries, so seriously, to make its case that anything resembling a Human Being is lost in the Fog of the Cold War. If there's still any doubt about the Evil of Hoover and his Megalomania, check out all the dismembered Head Shots of J. Edgar floating about in quite a few of the office Scenes.

Worth a view for Cold War Historians and "Safety for Freedoms" researchers. It is a Movie masquerading as your Friend. Early on the Film mentions how in the USA Citizens go about their Daily Lives freely because of the Bill of Rights. That creepy, prying TV Camera in the Shop was just the beginning. A Harbinger for sure.

"Walk East on Beacon" is a 1952 film starring George Murphy, about a G-man after a Communist sleeper cell. Set in Boston, it's a dry, unexciting look at police procedure, which we all know is plodding to begin with.

Narrated by Westbrook Van Vorhees, the film uses a documentary style often used for this type of film in the '50s. It usually signals an unexciting film, which this is.

George Murphy wasn't a great actor, but he was certainly charming. He isn't able to use much of his charm in this. The theme of the film isn't uncommon and has been better done.

The Boston locations were fun, but that's about it. If you're looking for thrills, go elsewhere.