Johnny le mouchard

Feels fairly by-the-numbers but, honestly, it's also a ton of fun. Solid cultivation of suspense, really fun characters and a fantastic ending. I recommend it!

Dan Duryea only had a few years in Hollywood before Richard Widmark came on the scene and took all the good roles, and in Johnny Stool Pigeon, he pulled out all the stops to make audiences loyal to him instead of the newer blond bad boy. It was a very good performance, and I hope he had a lot of fun playing the title character.

Against his better judgment, he agrees to work with the police in exchange for his freedom. He hates Howard Duff, the federal agent who helped put him behind bars in the first place, but he has to work closely with him to plan a huge drug bust across the Mexican border. Shelley Winters goes with the pair, and while Dan is smitten, she only has eyes for Howard. Poor guy!

Check out this exciting crime flick to find out if she ever changes her mind. It's a great salute to Dan Duryea, and the story has some twists and turns you won't see coming. Plus, you'll probably recognize the mute, menacing villain even though he doesn't reveal his distinctive accent: young "Anthony" Curtis.

Howard Duff (Morton) goes undercover to bust a drug gang. However, he needs the help of his former friend Dan Duryea (Johnny Evans) who he has condemned to a life in prison. The two men do not get on with each other. Duryea helps Morton get a new identity and they then have to work as a team to infiltrate a powerful gang of heroin dealers. They make the necessary contacts but they are treated with suspicion, especially by luxury ranch owner John McIntire (Nick Avery). Can they keep their word to each other and stick together?

This is a quick moving film that also stars a young Tony Curtis as a mute bodyguard/hit-man. All the cast do well with Dan Duryea being especially likable as a criminal who doesn't like cops. I have to admire his underhand ways as demonstrated when Duff doesn't allow him to go to the bar to meet Shelley Winters (Terry). Duryea takes advantage of a visit by McIntire to pick up his jacket and let Duff know that he's going to the bar by just walking out of the room leaving Duff powerless to do or say anything infront of a guest. We then see him sitting with Winters and enjoying himself. Good for him – nice move, Duryea! He plays by his own rules and keeps the viewer guessing as to whether or not he is going to betray Duff.

It's filmed on location in San Francisco and Arizona and has an ending that had me cheering!

One of the more underrated actors of his day was Dan Duryea. He never became a household name but the actor had a great knack for playing all sorts of characters...some good, some pure evil and many in between. Here, you get a good chance to see him at his best. Along for the ride is Howard Duff, whose part is strictly by the book and not particularly interesting. Additionally, in one of his first films is Tony Curtis who plays a mute assassin of all things!

There is an international drug ring running from Mexico all the way to Vancouver. The federal authorities have some leads...but not much. So, to help them infiltrate this mob, George (Duff) arranges to have Johnny Evans (Duryea) released early from prison. The problem is George isn't very sure how far he can trust his new partner and they go undercover at a dude ranch outside of Tucsan, Arizona. Things get complicated when Johnny brings along a dame he feels sorry for (Shelley Winters), though having her along might easily jeopardize everything.

The film is mostly unremarkable but enjoyable. However, the movie really had a terrific ending--and this alone help elevate the movie above the ordinary. Well worth seeing.

A narcotics agent helped by an ex-con and a blonde floozie goes undercover to nab a criminal gang.

The routine story is boosted by a good cast and some nice production touches. That opening shootout grabs us right away, along with the moody location shots of San Francisco, and later, in and around Tucson. The film was made at a time when movies were hitting the streets instead of the sound stages, so it's a good chance to catch styles and relics, circa 1949.

Surprise, surprise, veteran bad guy Duryea actually gets a semi-sympathetic role and only has to snarl once. And catch the unforgettable Shelley Winters, just starting her whiny isn't-she- cheap act. Between them, they lend real color to the production, along with a sneakily jovial John McIntire as the dude ranch host.

Some film buffs may not be aware of director William Castle's career before becoming a notorious schlockmeister with gimmicky teenage films like 13 Ghosts (1960) or The Tingler (1960). But he had a very respectable career at RKO with the brilliantly offbeat The Whistler series of the late '40's before coming over to Universal for this crime drama.

There're a number of good touches here. Catch a young Tony Curtis as the mute hit-man, a role made all the more effective by his pretty-boy good looks. Also, what a great way to heighten suspense by handing off that life-or-death message to a possibly non-English speaker, or by filming the climactic scene at an actual border-crossing with its rows of backed-up cars.

No, a programmer like this won't win any awards, but it's another example of how energetic movie-making was during its studio period.