Prigionieri della città deserta

Split Second is directed by Dick Powell and written by William Bowers, Irving Wallace and Chester Erskine. It stars Stephen McNally, Alexis Smith, Jan Sterling, Keith Andes, Arthur Hunnicutt, Richard Egan, Paul Kelly, Robert Paige and Frank DeKova. Music is by Roy Webb and cinematography by Nicholas Musuraca.

Escaped convict Sam Hurley (McNally) is on the run with his wounded pal Bart Moore (Kelly) and henchman accomplice Dummy (DeKova). Carjacking two lots of hostages, Hurley takes them to a ghost town on an Atom Bomb test sight figuring it's the perfect place to hole up. But with Moore in need of medical help, the test bomb set to go off in the morning and tempers frayed within the group, something is going to have to give...

A taut and sweaty noir, Split Second taps into the 50s fear of the bomb and explodes the character dynamics Petrified Forest style. The premise is simple, once the character introductions are out the way, we wind our way to a bleak ghost town and stay in the company of a disparate group of people for the remainder of the film. As the clock ticks down, with the bomb set to be detonated on the town at 06.00, the various characters introduce their respective traits into the story. The tension mounts and the over-spills are often nervy, sleazy and poignant.

The makers don't soft soap the situations, but they do dangle shards of sympathy. As is the case with Hurley, who is a cold blooded killer, we know and witness this, but his back story is that of a war hero, he also has a deep affection for his injured older pal, somewhere along the line a good man lost his balance. Dottie Vale (Sterling) is a dancer, street wise and aware of how to play the situation, but sadness resides behind her waspish tongue. Kay Garven (Smith) is a lost cause, she will do anything and trample on anyone to save herself. One of the best sequences in the film finds Garven throwing herself at Hurley, the rest goes on behind closed doors, but we know what happens and it adds spice to what follows in the final third.

Not all of the characters work for dramatic impact, such as Hunnicutt's talkative miner who wanders in to the plot at the mid-point (it's amazing how easy everyone finds it to get into this supposedly secure military site!), but the dynamics work wonderfully well. Weaklings, heroes in waiting, the forlorn, the foolish or the borderline psychotic, they all make for a potent and spicy psychological stew. The suspense angle of the impending bomb detonation is water tight, as is the ebbing away of Bart Moore, directer Powell never resorts to cheap tactics or clichés to keep the noose tight, and we are constantly wondering just who, if anyone? Will survive the ordeal.

Once daylight disappears and we leave the scorching Mojave vistas behind, night time envelopes the ghost town and ace cinematographer Musuraca brings his atmospheric magic. Webb scores it with dramatic verve and the RKO effects team (headed by Harold Wellman) do sterling work to pull it all together without cheap and tacky baggage. Powell gets great performances out of McNally, Kelly, Sterling, Egan and Smith, while his ability to not let the logic holes dominate the narrative belies the fact that this was his first directing assignment.

From the ominous opening shot of two men fleeing over sun-baked mud flats, to the thrilling and darkly tinged denouement, Split Second is a coiled spring waiting to explode. 8/10

A cultish favourite that is often listed for festivals of noir cinema, this work is less noirish than it is a clear example from the Theatre of Paranoia, as Dick Powell's directorial debut melds nuclear explosion fears with a harrowing hostage taking by two escaped convicts fleeing from a Nevada prison. The escapees, Sam (Stephen McNally) and Bart (Paul Kelly) helped by mute accomplice Dummy (Frank DeKova), take refuge in an abandoned mining town, Yucca Flats, along with six prisoners they acquire during their flight, despite their awareness that the desert ghost town is within a nuclear test site where, in 12 hours, a combined military force is going to explode a tower bomb armed with high grade scissile plutonium. Sam believes that he and his two cohorts will be able to evade a protective army encirclement and escape prior to the blast, but the uncertain fate of their hapless hostages becomes the oarlock for the film's atmosphere of foreboding, with one of the captives, played by Keith Andes, being a Las Vegas newspaper reporter who has full knowledge of the detonation schedule, having attended planning meetings during which the event's timetable has been established. For Powell's initial effort as a director of features, he selects a restricted environment, essentially one large room, as setting for his limited cast of featured players, with the bomb becoming an additional sinister character. Following initial lead-in scenes, including interlaced footage of actual soldiers and military technicians, a stage mise-en-scène is established to advance an atmosphere of suspense. Unfortunately, Powell's inexperience with ensemble work is in evidence here, as the players generally simply take turns with their readings, although a good deal of the dialogue is trenchant. The villainous trio is the most interesting of the cast, with Kelly taking the acting palm for his strong yet low-keyed turn as one who was severely wounded during the prison break, and Richard Egan is convincing as a physician gulled into performing surgery upon Bart, while on the distaff side talented Jan Sterling handily outperforms the histrionic Alexis Smith. Shot in California's Mojave Desert, this work benefits from R.K.O.s master cinematographer with black and white stock, Nick Musuraca, and there is an appropriately dramatic score from Roy Webb. A nearly fatal flaw is the artless attitude toward the dangerous effects of atomic radiation, although it must be conceded that applicable information available to the general public was scanty at the time of the film's production.

My understanding of this motion picture is much different. My family owned the gas station and inn that appears in the picture. I have many memories of director Powell flying around in a rather unusual aircraft for the time, a helicopter. Being very young, I didn't have much interaction with the adults as they wanted to imbibe after the shootings for the day but I do recall having to be silent and not play in the front of the business. This is truly a unique story line for the early '50s. The cold war was in full swing so any movie about this subject captured audience attention. I have since purchased video tapes for members of my family. Excelent example of the A-Bomb era genre. Others: The Day The Earth Stood Still, Godzilla.

Small gem of a movie filled with faces you know. Glad I stumbled upon it today.

Dick Powell directed "Split Second," a B movie starring Stephen McNally, Jan Sterling, Alexis Smith, Richard Egan, and Keith Andes, about prisoners and their hostages at an atomic test site. McNally, meaner than dirt, escapes from prison with two cronies, one of whom has been badly wounded. At a gas station, they carjack Alexis Smith and her boyfriend. Before long, they have four hostages: Keith Andes, who plays a reporter, and Jan Sterling, who hitched a ride with him. They all wind up on an atomic bomb test site, and there's a test set for the next day. Since Smith's husband is a doctor, McNally calls him and threatens him with Smith's life so he will come and save the wounded escapee.

Seen with modern eyes, the friendship between McNally and his injured pal is something to behold. McNally is a cruel tough guy who becomes gentle when speaking to his friend, and he's determined not to leave him behind. Hmm...Smith plays a desperate, selfish society woman who will do anything - underline anything - to get McNally to take her along when he leaves, and in fact, they have a protracted time together in another room. She's a real piece of work. Richard Egan is her husband, who arrives to help the wounded prisoner.

Keith Andes was a handsome man whose major career was in television, and his beautiful singing voice and masculine presence brought him Broadway success as well, particularly costarring with Lucille Ball in "Wildcat." He does a good job here, as does Jan Sterling - they are two people caught in bad circumstances who happen to fall in love along the way. McNally is as nasty as they come - another fine performance of a low-life.

Dick Powell's direction has a sure hand, and the tension mounts as the film continues. A very good B movie, but not really noir as has been suggested.