Il terrore corre sull'autostrada

A shy Los Angeles mechanic and weekend racer (Mickey Rooney) is duped into being the getaway driver for bank robbers played by Kevin McCarthy and Jack Kelly. It seems as if they have a rather elaborate plot to hook him into their scheme by using McCarthy's girlfriend played by attractive Dianne Foster as lure for the shy and withdrawn Rooney who only has his job and his racing trophies to keep him going. It all works fairly well and shows how an innocent person is lured into doing something he would never ordinarily do with the bait being implied sex. Rooney is really good but so are both Kevin McCarthy and his partner played by Jack Kelly. The robbery itself occurs in Palm Springs and does not disappoint in execution with Kelly especially good as the gunman cracking jokes as he accompanies the head teller to the bank followed by the getaway car (which was souped up by Rooney). The film's title comes into play as Rooney drives like mad over a twisting mountain road back to the highway in under twenty minutes. All the elements of the story are mixed pretty well with a tough ending.

"Drive a Crooked Road" is an excellent picture--written by Blake Edwards and starring Mickey Rooney. Most would probably consider it an example of film noir, though its camera-work and dialog aren't exactly typical for noir.

When the story begins, you learn that Eddie (Rooney) is a small-time race car driver and mechanic. He also is rather quiet and is treated rather poorly at times due to his being so small. Because of that, he's vulnerable when a pretty lady (Dianne Foster) begins showing him a lot of attention. But she is not such a nice lady and halt ulterior motives. It seems her boyfriend (Kevn McCarthy) is a mobster and they are actually setting him up to become part of their robbery scheme! What's next? See the film.

Most Mickey Rooney films, particularly those earlier in his career, are similar because Mickey plays nice guys or guys who become nice guys. Here, however, he agrees to become entangled with gangsters...gangsters who really are scum. Overall, well acted and interesting throughout...and well worth seeing. If you are interested, it's currently posted on YouTube.

Is there such a thing as a male weeper? Bang The Drum Slowly certainly belongs, as do parts of The Knute Rockne Story (`Let's win this one for the Gipper!'). Probably the whole athlete-dying-young genre does for men what Stella Dallas did for women. Another candidate for inclusion is Drive A Crooked Road, a 1954 noir starring Mickey Rooney.

Rooney's abbreviated stature helped keep him in pictures as America's oldest teen-ager. But once he hit 30, it was inevitable that adult roles should come his way. As the noir cycle was in full swing, that's where he landed. In The Strip and Quicksand, he still managed to pass as a stripling. By the time of this movie, however, he was well into his 30s, with broad hits of chubbiness settling into his face and midriff. He was still the star, not yet relinquished to character roles, though it was unclear how to handle him. So he became a misfit – a `freak.'

He's an awkward, lonely auto mechanic with dreams of driving someday in the Grand Prix – dreams he knows won't come true. With one exception, his fellow mechanics tease him mercilessly, especially about his lack of sexual experience. One day an unattainable woman (Dianne Foster) gives him the big eye, and he succumbs, however tentatively at first. (His ache for her is palpable when she plays hard to get, as he tosses on his rooming-house bed with his few racing trophies now emblems of hollow triumph). But she's just a cat's-paw for her real boyfriend, Kevin McCarthy, living the high life in his beach-house bachelor pad; he's planning to knock over a bank in Palm Springs and needs Rooney as his daredevil driver. With Foster's increasingly reluctant urging, Rooney signs on....

The resolution, of course, is the falling out of thieves; a large portion of the plot was to be echoed, 10 years later, in Don Siegel's remake of The Killers. Though the robbery and escape should have been the centerpiece, or at least the central set-piece, of the movie, here it seems curiously perfunctory (these comments are based on viewing a version some minutes short of recorded running times, however). But the movie's staying power lies in Rooney's portrayal of the dupe, the victim – all the more memorable for being so understated.

Hell hath no fury like a man scorned.

Mickey Rooney starts out as if he is a Danny Kaye milque-toast character. Taken in by Diane Foster, he soon meets up with 2 guys who want his driving talent to be used in robbing a bank.

Rooney is great here as he goes from a quite guy, afraid of really living to aiding the guys in the heist.

Hurt by the betrayal of Foster, she shows compassion at the end and this leads to tragedy as Rooney becomes a killer.

This is really film-noir at its very best.

The robbery was a complete success but the thieves were done in by personal reactions. This one is worth catching.

In his youth, and in particular his heyday over at MGM, Mickey Rooney would practically do cartwheels through his roles - he was that high energy. However, he was capable of something more than playing the energetic optimistic young man of pre-war America, and this film and 1950's Quicksand are probably the best examples of what that something was.

Here he plays auto mechanic Eddie Shannon that also does some race car driving. A mob of thieves take note of his talent behind the wheel at the race track and the gang leader's girl (Dianne Foster as Barbara) flirts with Eddie and gets him to believe that she loves him. Then the thieves lower the boom on him - they proposition him to drive their getaway car during a bank robbery in return for 15000 dollars. The reason that Eddie is so needed is that the road between the bank and the main highway past the point where any road blocks would be requires fast driving over what amounts to unpaved desert terrain. Eddie's an honest guy, willing to wait and work for the things he wants, but Barbara is holding out the need for this quick money as a condition of their relationship continuing, so he gives in and agrees to the robbery plan. To him, Barbara is his treasure, not any amount of money that he could land. Little does he know she's fool's gold.

Rooney is convincing as the little guy who takes it on the chin from a verbally abusive coworker at the garage who - like all bullies - doesn't seem to realize that high school is at least ten years behind him. Without saying much you can tell Rooney's character Eddie is a guy that has come to have low expectations of life, not so much abused as he is ignored and invisible to the opposite sex, and is surprised when a beautiful girl takes notice of him. Things are getting out of hand for Barbara too, as she feels deep remorse for using Eddie. Kudos also go to Kevin McCarthy and Jack Kelly as the two thieves. McCarthy's character has a very thin veneer of charm painted over what appears to be a soul of pure evil. When he kisses a rather apathetic Barbara and doesn't like her lack of enthusiasm, he warns her to never kiss him like that again in a way that will give you goosebumps. Jack Kelly's character is more of an all out wild man. You can just tell that he considers violence the most amusing pastime on earth.

I'd recommend this one for Rooney's performance, but I'd downgrade this one just a little bit on lost opportunities for what could have been some fine action shots during the bank robbery scene and the getaway thereafter.