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The Quick Pitch: $500,000 in cash is stolen from a train's baggage car.

Not a lot to say other than that this is a good one. My little plot summary may be shorter than usual, but I don't want to spoil anything. Time Table has a couple of plot twists that are about as good as any I've seen. The first comes early on in the film. While I may have had an inkling of what was about to happen, I still enjoyed watching the events unfold. But the second twist caught me by complete surprise. What fun!

Time Table is one of those films that proves you can (or at least you could in 1956) make a quality little movie without breaking the bank. Given budgetary constraints, director Mark Stevens created a tense, atmospheric crime/noir/thriller that moves at a brisk pace and is entertaining throughout. Not only does Stevens direct, but he also stars in Time Table. His performance is just as solid as his direction. The mostly no-name supporting cast is equal to the challenge. I'm sure I could pick a few things to complain about, but why bother when a movie is this enjoyable.

7/10

"Time Table" is a rather forgotten crime film which was directed by and stars Mark Stevens—a very capable but mostly forgotten actor from the 50s and 60s. It's really a shame the film isn't seen and lauded, as it's quite good—especially since it has a very modest budget. I've never seen it on TV nor DVD but fortunately it IS in the public domain and is therefore available through archive.org—a website often linked to films on IMDb. Download a free copy and watch it—it's quite good.

The film starts off wonderfully—with one of the most intelligently filmed heists I can remember. You really need to see it—and I don't want to spoil it by saying more about this. In the next scene, a couple are talking about their upcoming and much-needed vacation to Mexico when the phone rings—the husband (Stevens) is needed at once. It seems he's an investigator for the insurance company covering the heist—and they want him to look into it ASAP. This means the vacation is on hold.

When the investigation begins, it's quite obvious that the crime was very, very professional and was carried out with attention to every detail. However, during the robbery, somehow one of the gang was injured—and this might be the lead they need to break the case. But, in a WONDERFUL twist, the audience soon learns that there is so much more to the story than anyone has anticipated and the identity of the big brains of the operation is quite the surprise. I'd say more but don't want to spoil it.

Some might consider this film to be an example of Film Noir. Well, it is a crime film from the 1950s and is pretty unflinchingly violent in places. However, the film lacks the snappy dialog and cinematography you'd expect for Noir. I personally like the way the movie was handled, as it seemed more realistic than Noir—like you were watching a real investigation unfold. Fascinating throughout.

The film gets off to a really good start. A slick crime with no clues appearing and you're wondering how the investigators are going to solve it. I'm thinking this is great (8 or 9 out of 10); a real puzzle but out of the blue they catch a member of the gang with no explanation as to how they found him. Then other members of the gang start making mistakes by not following orders. If the crime had been solved by deduction it could have been a great movie. Gripping start but soon disappoints.

Gang executes intricate train robbery, putting two insurance investigators on their trail, with a major twist.

At about the time Kubrick was making a reputation with his heist film The Killing (1956), Mark Stevens put together this little gem. Unlike Kubrick's classic, this caper film doesn't rise to semi-artistic heights, but it is tight, tough, and well-acted, with some nice touches. For example, there're the surly baggage handler and the brusque airplane mechanic, both colorful bits that could have easily remained routine.

Aben Kandel's script is carefully plotted, dribbling out pieces of information that keep us glued to developments-- plus that great opening hook with its careful staging. But what I especially like is his and Stevens' attention to jilted wife Ruth (Stewart). It would have been so easy to shove this plain-faced woman aside as Stevens cavorts with the lovely Linda (Farr). Instead they play up her heartbreak as this drably devoted wife watches the collapse of everything she holds dear. In my book, it's a sensitive dimension that helps lift this 80- minutes beyond the simply well-crafted.

In addition to Stewart's fine performance is King Calder's (Armstong). His humorless, Bassett hound face is perfect for the dogged investigator who knows the importance of visualizing and goes where the evidence takes him, regardless. Look too for Jack Klugman (Frankie) in one of his earliest film roles.

Judging from Stevens' list of credits (IMDB), he's one of those contract players trying his best after the break up of the old studio system and the decline of the B-movie. Whatever his later misfortunes (Gunsight Ridge {1957}; Gun Fever {1958})-- he and Kandel team up to score solidly with this overlooked little caper gem.

This is a fast paced crime thriller involving a well synchronized heist of $500,000 from a train. Insurance investigator Charlie Norman (Stevens) and railroad detective Joe Armstrong (Calder) are called in to investigate the crime. The gang of thieves seem to have thought of everything and covered their tracks well. But then things start to unravel and the gang's leader kills one of gang members who is on the verge of telling all to the police. Armstrong is a dogged detective who pays attention to the smallest detail and whose motto is "There's no such thing as a perfect crime." That's certainly so in this case. Stevens does an okay job as Charlie Norman but he doesn't have a particularly striking screen presence and often delivers his lines too flatly. Even so, this movie has a couple of great twists and maintains interest throughout