Warning Shot

You can take Buzz Kulik's Warning Shot one of two ways. It's either a crackling good cop show, filled with procedure and great pacing, and David Janssen at his most heroically pathetic (and empathetic) as an LAPD detective facing a manslaughter charge or the movie is an over-clichéd snapshot of forced topicality in the Mirandized late '60's. It's really your call.

I'd like to think of Warning Shot as both, the way The Detective and Madigan mixed the vulnerable with the vulgar. After about the fourth time Janssen's character, Tom Valens, gets abused or beaten or gassed by the well-to-do slimeballs he's sworn to defend, you might start to notice how he'd probably be better off copping a plea for shooting a philanthropist doctor. Instead he swears grimly that he's going to defend his own honor to the bitter end (and repeatedly almost gets his way).

Warning Shot is packed with cameos, people who were legends when I was a kid, and now, forty years after its release, most of the performers are unrecognizable, which makes the story more accessible and less of an exercise in "Hey, look--it's . . . "

What makes the movie work is that David Janssen, looking ten years older than 35, is so very real as a man of good character with no excess intelligence, just grim determination.

A key figure in the story refers to Valens as "Sgt. Gumshoe" or something like that. It fits. Janssen's Valens is ordinary and vulnerable to the hyperventilating police-haters all around him. He can't do much more than reel and lurch from one disaster to the next, while awaiting his guaranteed-to-be-convicted trial. At one point, he gets the stuffing kicked out of him and doesn't even lay a finger on his attackers.

His ex-wife (played by the reptillian Joan Collins) tries to screw him while busting the very organs she's depending on for their quickie. The District Attorney (the equally scaley Sam Wannamaker) announces to Valens that he likes to crush solid and stolid cops whenever possible. By the end, Janssen has no one to turn to for even the most rudimentary support, not even a union rep (a very young and lovely Stephanie Powers, the dead doctor's nurse, can do no more than cluck over his sincerity and give him a ride home).

Nobody can help this poor shlub except himself.

Which brings me back to why Warning Shot is a mixture of reality and topical paranoia. Often, in crisis, people have to revert back to their core values to save themselves. Either they don't have anyone to help them or they don't trust anyone and decide to go it alone. Janssen's Tom Valens does just that.

Yet, at one point, he's told that his career is through no matter what happens. You can see the pain of this reality on Janssen's face as he surveys the damage he's done at the end of Warning Shot. He tosses his piece on the hood of a police car (no gun love here--it's just an ugly tool he wants out of his hand) and looks almost ready to cry from frustration and exhaustion. Like Frank Sinatra's Joe Leland and Richard Widmark's Dan Madigan, Tom Valens needs to get as far away from police work as possible.

It seems the late, great actor, David Jansen always chased fame during his cinematic life. On television he was 'the fugitive' and due to its popularity, became not only a household name, but a fixture in American language. On screen, his movies are a thin veneer of what he really could have achieved. As one of his most ardent fans, I always believed he would one day peak. In this film called " Warning Shot " he came awful close to the mark. Within the story he plays Sgt. Tom Valens, a veteran L.A. police officer with a serious approach to his job. However five years prior, he tried to arrest a scared young punk who fired his gun hitting Valens in the gut, leaving him apprehensive about future suspects with guns. As a result, when Valens is assigned to a stakeout at an exclusive apartment complex, he confronts another frightened suspect and orders him to halt. The suspect instead runs suspiciously and when cornered draws what appears to be a pistol, prompting Valens to shoot first. It is later learned the man Valens' killed was not only a revered and social philanthropist, but a highly respected doctor, catering to the poor. Sadly, no gun can be found. Suspended from duty and placed on leave, Valens is advised to enlist a high profile attorney who like most others, advises his client to plead guilty and ask for leniency. Valens states he is a sore looser and opts instead to prove the good doctor was not so saintly as everyone seems to think he was. The film is highly underrated and with the star power has become a cult favorite. Ed Begley who plays Capt. Roy Klodin, Keenan Wynn who plays Sgt. Ed Musso, Carroll O'Connor, Steve Allen, George Sanders and Walter Pideon are among the most notable stars who have bit parts in the film. Together, along with the haunting theme by Jerry Goldsmith they are the reason why this film succeeds in becoming a David Jansen Classic. ****

Warning Shot is a good, old-fashioned movie. David Janssen is the star, and acts in his usual style, like a cross between Alan Ladd and Jack Webb. The film is a murder mystery about a cop who claims to have killed a man in self-defense, only he can't find the gun he said the man was aiming at him. Buzz Kulik was a gifted director, and he handles this one well. Some people don't like this movie because it resembles a television show, as it does suggest in its visual style and art direction an episode of Mannix. This is too bad. It doesn't bother me at all, and the film is a hundred times better than Mannix ever was. Janssen was always at his best when hunted or woebegone. There was a quality to him,--I wouldn't call it sensitivity exactly--vulnerability, "hit-ability"; whatever it is, it's on full display here, and he does get badly beaten up at one point. The supporting cast is outstanding, with Ed Begley, Eleanor Parker, Keenan Wynn, Stefanie Powers and George Grizzard all first-rate. There's less for Walter Pidgeon and Steve Allen to do, though it's always nice to see them in anything. George Sanders has a small part as well, though he doesn't get a chance to shine, he seldom did in his later years.

The movie was one of several attempts to revive the forties crime film, whether of the noir or detective variety, probably inspired by the burgeoning Bogart cult of the sixties. Frank Sinatra and Lee Marvin appeared in a few like this, and Warning Shot is Janssen's crack at it. This is my favorite of the group. It's lean and fast-paced, a bit episodic, but in a good way. There's a lot of exposition, and a few false leads, but it's never tedious. I like the downbeat, depression in the orange groves, west coast Chandleresque aspect of the film, with palm and stucco everywhere, and cars that seem the size of today's SUV's only they're just Fords and Plymouths. Warning Shot's a period piece, but an entertaining one.

It's a definite cult classic - that's all that I can say. But it does have an incredible cast, filled with once and future stars. The direction is quite stylish, and the theme is still timely. In many ways, _Warning Shot_ is rather like a film-noir shot in color. Like DOA, there's the theme of one man against the entire world - and the forces of time, also. There is emphasis on his need to prove himself - because he is a man. Like all noirs, the actual plot is irrelevant, although Whit Masterson (Touch of Evil) did think up some good twists. It's the atmosphere that you take away with you from this one.

David Janssen stars in what might be described as a "mid-'60s sun-baked L.A. neo-noir meets Dragnet-esque police procedural". This was probably Janssen's best big screen role of his career, although the film did still overall have the production values and feel of a made-for-TV movie. I thought director Budd Kulik did well with his blocking and the pace of the film.

Janssen, in his usual low-key but effective manner of acting, plays LAPD Sgt. Tom Valens who is accused of the wrongful shooting of a respected Beverly Hills doctor during a late night stakeout. Later, unable to locate the gun he claims the doctor had pulled on him, Valens is first relieved of duty and then must face a grand jury hearing after which the prosecutor played by Sam Wannamaker expresses his delight in "putting bad cops in their place". With all the evidence pointing to Valens' guilt and with few if anyone believing his story, he sets out for himself in search of evidence to prove his innocence. (sound familiar, fans of his most memorable television role?)

A number of well known and respected actors and actress of the time would make what could basically be called long cameos throughout much of the movie, as it does seem a bit episodic in some parts. Among those familiar faces would be Ed Begley as Valens' LAPD superior, Lilian Gish as a sweet but forgetful elderly lady, Stefanie Powers as a sympathetic nurse, George Sanders as an investment banker, Eleanor Parker as the decedent's less-than-grieving widow, Joan Collins as Valens' soon-to-be ex-wife, Steve Allen as a blowhard television commentator, Carroll O' Connor as the grand jury judge and George Grizzard as a playboy airline pilot.

The ending is a bit weak in regard to a somewhat illogical aspect to it, but overall it is worthwhile.