13 West Street

This is an above average programmer that benefits from decent, if predictable, performances by Alan Ladd and Rod Steiger. Ladd is a rocket scientist who gets mugged on the way home from a late night at the office by a roving band of Beverly Hills punks led by Michael Callan. What follows could be considered Death Wish 1962, as Ladd pursues the villains whilst police officer Steiger tries to keep him under control. Good photography by Charles Lawton Jr. and a reasonably interesting George Duning score make this one to watch on a cold winter's night.

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.

This is one of Alan Ladd's last films, and his age is showing. But his acting is more than adequate, and it's a pleasure to see him in a role like this (aerospace engineer, husband) rather than "Gun for Hire", "Shane", "Blue Dahlia", "The Iron Mistress". etc. So much of his work was done in costume, he looks strange dressed like a suburban professional.

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.