Private Hell 36

Cops Cochran and Duff investigate stolen money from a robbery that involved murder. When a stolen bill is dropped to a nightclub singer the cops use her to identify the man who gave it to her. However when the thief is killed in a car chase the two cops, one with a family the other with an expensive girlfriend, decide to take the money and hide it in a trailer park (hence the title). But with time comes pressure from within and without to come clean.

This film came from Ida Lupino's filmaker company and was co-scripted by her and she plays the nightclub singer who can identify the killer. She is good in the role and gets plenty of help from young director Don Siegel. This is pretty small beer by his standard but it's still a pretty good thriller all the same. Some scenes are brilliant - the opening robbery of a drug store for one, while others are just good. But the gritty story isn't as good as I was hoping.

Overall a solid thriller from a good team of director and actors but it doesn't really have anything that makes it stand out from other crime thrillers of the same period.

"Private Hell 36" (1954), directed by Don Siegel, is tough little film noir starring a reliable cast of familiar faces for film buffs: Ida Lupino, Steve Cochran, Dean Jagger, Dorothy Malone and Howard Duff.

The plot isn't anything particularly special: two cops (Cochran and Duff) decide to take thousands of dollars from the suitcase of a dead counterfeiter and hid it in a trailer park. But then Cochran starts suffering with his conscience… The opening scene is the best when Steve Cochran stumbles onto a drug store robbery late night. Burnett Guffey's agile camera surveys the action with a cool calm and helps put everything into perspective. The jazz soundtrack composed by Leith Stevens purrs along nicely, as does Don Siegel's direction, which is far from his finest hour but still holds the viewer interested in the events portrayed. The acting, on the main, is good, especially Ida Lupino as a singer cop Howard Duff falls fall. This isn't a shining example of the film noir genre but it passes the time pleasantly enough.

Independent filmmaker Ida Lupino didn't intend to make a B picture with PRIVATE HELL 36 but that's what happened. In the early 1950s, director/writer/actress Ida and her writer/producer husband Collier Young broke away from the studio system by forming "The Filmmakers" and they used it to tackle such topical subjects as rape and "ripped from the headlines" social commentary. Young and Lupino soon divorced but they kept their working relationship going and even used each other's new spouses in their "classy" exploitation films. Ida directed Collier's wife Joan Fontaine in THE BIGAMIST (1953) and her follow-up film was going to be "The Story Of A Cop" starring her husband, Howard Duff. At the time, big city police corruption and the Kefauver TV hearings on organized crime were hot-button issues that made national headlines and were inspiration to writers like William P. McGivern who fashioned roman-a-clefs in films like THE BIG HEAT (1953), SHIELD FOR MURDER, and ROGUE COP (both 1954). Never one to let a good story go by, Ida Lupino threw her bonnet into the ring but by the time she was ready to make "Cop", she and Duff had separated. They soon reconciled but, afraid to rock the boat, Ida decided not to direct her husband and hired Don Siegel, who had just made RIOT IN CELL BLOCK 11, for the job. The result, now called PRIVATE HELL 36, is the story of L.A.P.D. partners Steve Cochran & Howard Duff and what happens when temptation proves too much for one of them. Lupino actually tackles themes that many Films Noirs have been accused of doing now and then: capitalism, materialism, and the American Dream are the mitigating circumstances propelling the self-inflicted problems everyone involved have to confront. Loyalty and "the blue wall of silence" are also thrown in for good measure but the character study the film becomes disrupts the pace. The movie starts off with a murder/robbery but the real action doesn't come until after the half-way mark; in between are slow build-ups involving family man Duff and his wife, Dorothy Malone, and the single Cochran who's fallen for a witness in the case, nightclub chanteuse Ida Lupino. Ida's a bit old for her role as a sympathetic "femme fatale" but the dynamics between her and the seemingly laid-back Cochran are one of the film's highlights. The movie takes too long by half to get where it's going but the ride is fascinating -as is the back story:

"Siegel was never comfortable working on the film and most of his memories of it are bad. He can remember little of it and readily admits that he may be blocking it out psychologically. The things he does remember are uniformly unpleasant. Siegel recalls there was a great deal of drinking on the set by the cast and producer. The script was never really in shape, ready for shooting, and Siegel was given little opportunity to work on it. He began to lose control of the picture, got into fights with Lupino and Young, had difficulty keeping Cochran sober, and got in the middle of arguments with his cameraman... One time, he recalls, Miss Lupino told Guffey that she wanted him to re-shoot something and even Guffey, whom Siegel describes as the mildest of men, exploded and became party to the bickering. 'I was terribly self-conscious on that picture,' recalls Siegel. 'I had just done a picture for Walter Wanger, RIOT IN CELL BLOCK 11, in which I had great authority, did whatever I wanted to do. Now I was on a picture battling for every decision, working with people who were pretentious, talented but pretentious. They'd talk, talk, talk, but they wouldn't sit down and give me enough time. They wouldn't rehearse. Perhaps it was my fault. Cochran was a good actor, but not when he was loaded, and I had a hard time catching him even slightly sober. I was not able to communicate with these people and the picture showed it. Strangely enough, I personally liked both Ida Lupino and Young and still do, but not to work with."

Cinematographer Burnett Guffey had just won an Academy Award for FROM HERE TO ETERNITY and would do so again with BONNIE & CLYDE over a decade later. Don Seigel hired his friend Sam Peckinpah as "dialogue coach" and Howard & Ida's little girl had a bit part. The alcohol-fueled acting (enhanced by Leith Stevens' jazzy score) is fine all the way around with Steve, as usual, being the stand-out as he slowly reveals his character to be a self-assured sociopath under the badge.

Recommended -but not for the usual reasons.

Cop partners are tempted into stealing robbery loot, causing tension between them and troubles for their women.

The crime drama may be a potboiler, but it's also redeemed by an effective cast. And that's despite one of the most obtuse film titles in Hollywood annals. Actually, the movie amounts to a Steve Cochran showcase, showing what that swarthy actor could do given the chance. Nonetheless, the competition's pretty stiff from Duff and Lupino, while Malone would have to wait a year for her break-through role in Battle Cry (1955).

Cochran and Lupino do make a convincing tarnished couple, as another reviewer points out. At the same time, Cochran's devious cop amounts to one of the most unself-conscious performances I've seen from an actor. Note how at ease he is in the role, as if he really is cop Bruner.

It's also director Don Siegel, a year away from his classic Invasion of the Body Snatchers (1956). His skills are especially apparent in that opening action sequence that hooks the audience right away. Also, the car-wreck scene is really well done—no stock footage there— including the smoothly executed thievery scene. However, the last sequence, in the trailer park, appears too abrupt and poorly staged, as though the production had run out of film or money or both.

Kudos to co-producer Lupino who continued to be instrumental in turning out quality B- movies at a time when TV was slowing demand. Nothing memorable here, just a solid little crime drama with an expert cast.

This taut, low-key and highly effective B-movie film noir was an early example of a style that director Don Siegel came to perfect in his later films. Although dealing with robbery and murder it's at its most effective in the small scenes of domesticity between the central characters, a crooked cop, his partner and the women they are both involved with and there are good performances from Steve Cochran, Howard Duff, Ida Lupino and Dorothy Malone in these roles. (Lupino co-wrote the movie with producer Collier Young). Excitement is generated from not knowing exactly which way the characters might go and from the degree of complexity that both the players and writers invest them with. The denouement is a bit of let-down, however, with things tidied up too quickly and too neatly. Still, it's a commendable effort.