Step by Step

Phil Rosen directs this B picture with flair and to that end he is greatly helped by the debonair and good looking leads, Lawrence Tierney and Anne Jeffreys, the latter a stunning beauty reminiscent of a pinup model... and a very, very cute mutt who gets to have the last snarl in the movie!

Cinematography is quite good for a B pic, action sequences - especially the fisticuffs - are well worked (though you can tell a stuntman does Tierney's fight sequences), and the script is strong, credible and very funny in parts, with the abovementioned cute dog making us wag our tails...

At a short 61', a most enjoyable way to spend time.

Short Little Throw-Away of a Movie has a Fast Pace and a Lawrence Tierney Good Guy to Boot. It is Exciting and Never Very Serious in its Attempt at a Story of German Spies (the war was over), but Nevertheless was Undeterred in Using the Defeated Nazis as Germans Gone Underground just Waiting for Another Chance.

It is All Flighty and Fluff with a Dog. Some Comedy Among the Espionage as the Mistaken Identity Couple Outwit the Police and the Bad Guys with the Help of an Old Jalopy and a Crusty Geezer with a Knack for Knowing Innocence when He sees it.

At just Over an Hour it is a Pleasant Time Waster with some Joyful Action and Plenty of Silly Suspense to Keep Things Interesting. It may be the Only Movie where the Star is in a Bathing Suit and Nothing Else, Showing Plenty of Beefcake, for what Seems-Like Forever in this Oddly Pastiched Programmer.

This programmer is action packed with a story filled with intrigue and suspense. It was released during the transitional year 1946 when Hollywood was switching from the Nazi/Japanese menace to the Communist Cold War threat. Apparently, this entertaining little item was a hold over from the year before.

"Step by Step" deals with a Nazi spy ring in American attempting to stop vital intelligence information from reaching a US senator, involving murder and impersonation. Two innocents, Evelyn Smith (Anne Jeffreys) and Johnny Christopher (Lawrence Tierney)--if you can believe Tierney as an innocent--stumble into the espionage web as a result of a chance confrontation on the beach where Christopher is walking his dog, Bazooka, a friendly little mutt who's not bad as a Nazi hunter. Christopher becomes suspicious when the Nazi agents try to pass one of their own, Gretchen (Myrna Dell), off as Evelyn. Christopher comments to the effect that Gretchen has the body but not the face. "She looks like she just bit into a green persimmon," is one comment used in the film to describe Gretchen's puss. Christopher and Smith find an ally in motel keeper, Caleb Simpson (George Cleveland), a jolly old chap who provides a lot of fun in this otherwise rather dour tale of mistaken identity.

One of the best program thrillers to come out of Hollywood at the time, the acting is first rate with Lawrence Tierney playing against type. He was the definitive big screen "Dillinger," released the year before, until Warren Oates came along nearly thirty years later to equal his performance.

A programmer was approximately an hour-long B (budget) film released to play as a second feature to a major Hollywood release or as a double feature with another B movie. This is the way it worked in my home town: The major release would play as an "owl show," beginning at midnight on Saturday. It provided a good excuse for a teenager, called youngster back then, to keep his date out late without upsetting her parents too much. The major flick would continue to play on Sunday through Tuesday. Then for Wednesday, Thursday, Friday, and the early evening show on Saturday, a double feature, sometimes a triple feature, would be shown which presented the programmers such as "Step by Step." Included in all this would be cartoons, selected short subjects, advertisements, previews (coming attractions), and newsreels. Saturday afternoons were set aside for the kids. Usually, B westerns, two or three, would be shown along with cartoons, shorts, advertising, previews, newsreels, plus the added attraction of a serial. This was a treat for the children. For only a nickle or later a dime, kids would be entertained all afternoon while their parents shopped or took care of other business. They might all stay around for the early evening shows. Only the teens and adults usually stayed for the owl show.

Lawrence Tierney didn't often get to play good guys, and--judging by his performance in this compact, tight little actioner--he's actually pretty good at it. Tierney plays an ex-Marine who inadvertently gets mixed up with a pretty blonde (Anne Jeffreys, looking fetching), German spies and a murdered secret agent. There's more comedy than you usually see in a Tierney picture but there's also the kind of shootouts and fisticuffs you expect in a Tierney picture, and director Phil Rosen expertly blends them all together; in fact, this is probably the best of Rosen's pictures that I've seem (he could usually be found grinding out cheap Bowery Boys programmers for Monogram and shoddy jungle pictures, and worse, for PRC). There's a good supporting cast--John Hamilton, George Cleveland, James Flavin--it's well acted, moves like lightning and everything gets wrapped in just about an hour. Location shooting along the California coast helps greatly. A fun picture, definitely worth an hour of your time.

Okay RKO programmer. Though released in 1946, the premise involves Nazis trying to keep their goals alive. Actually, the script makes reference to historical Germany (Bismarck) as "enemies of civilization", no less. Anyhow, discharged marine Johnny (Tierney) gets accidentally mixed up with the Nazi remnants, and gets blamed for murders the die-hards actually committed. Good thing he's got help from comely blonde Evelyn (Jeffreys) and motel owner (Cleveland).The remainder involves a lot of sometimes aimless chasing around. For me, the highlights are the expertly photographed ocean views. To its credit, this programmer goes beyond the usual cramping studio sets.

Looks like RKO was promoting Tierney as studio stud since he spends movie's first third shirtless, sporting manly pecs and flat belly. He does well enough in hero's role, but his real charisma showed through as emotionless villains, e.g. (Born to Kill, {1947}). To bad for his career he couldn't stay off the juice and barroom brawls. (Apparently, he scared the heck out of the amiable cast of Seinfeld, {1989-1998}, when he appeared in an episode.) Nonetheless he was a distinctive screen presence, though that presence doesn't really come through here.

All in all, director Rosen keeps things moving, which helps divert attention from a convoluted narrative. But my guess is that the script was hastily reworked once the big war ended. Happily, RKO soon turned to noir.