Trapped

... because they all look so much alike! There are a bunch of double crosses and reveals in this fast moving film about a convicted counterfeiter (Lloyd Bridges) who promises to help the feds root out another counterfeiter in return for early release but then double crosses them and escapes. However, it is made somewhat confusing by the fact that all of the male supporting cast looks alike! This was an independent and thus probably a low budget production and I recognize John Hoyt, Barbara Payton, and of course Lloyd Bridges easily enough, but when it looks like yet another double cross or plot twist has been revealed I have to rewind and find out who this other person is - fed or bad guy - before I can determine the significance of what is happening.

This makes me really appreciate the stable of contract supporting cast that the major studios had. Warner Brothers' contract players for sure did not have looks to die for, but I could always tell the difference between Frank McHugh, Arthur Hoyl, and Robert Barrat. And over at MGM, nobody was ever going to confuse Felix Bressart with anyone else.

Lloyd Bridges really shows his penchant for being able to play a nasty amoral character here, two years before he plays a working class hero in "The Whistle at Eaton Falls". John Hoyt would not have been my first choice for the lead protagonist, but he carries his part off believably. This is a rare chance to see Barbara Payton in a lead role since her personal life will begin to disintegrate rather spectacularly in 1951 and take her acting hopes with it.

There is not much time for probing character development in this one, and it would have been interesting to find out why Payton's character has so much misplaced sympathy for Bridges' character, but I would still recommend it.

TRAPPED is a very good example of the documentary- styled noir film. Lloyd Bridges gives an energetic performance as a greedy and cunning counterfeiter whose brains are not equal to his ambitions. The film also features tragic sex bomb Barbara Payton in her first major role and she also scores as a somewhat naive, yet ruthless, partner to Bridges. Richard Fleischer directs with his usual stylishness and the look of the film will satisfy the diehard noir fan. Very enjoyable.

Counterfeiting obviously exercised the authories greatly during the postwar period, since it's here the subject of yet another crime film. Director Richard Fleischer further enhanced his burgeoning career with this astringent, sometimes eye-wateringly violent little potboiler dramatising the problem extensively shot on location in the days when Lloyd Bridges was playing "cheap, penny-antsy grifters".

The film begins with a rather heavy-handed and hokey introduction extolling the virtues of Secret Service in their dealing with forged American dollars. Then, the actual story begins. It seems that a counterfeit $20 has turned up--and it's an awful lot like one passed by a man who has now been in prison several years (Lloyd Bridges). When he's questioned, he refuses to cooperate. However, when he does seem to be cooperating, it's a ruse--and soon he's escaped from custody. Eventually he makes his way back to his old gang--and he wants in for some of the action. Along the way, he meets up with a sharp character (John Hoyt) who wants to bankroll Bridges' scheme to make a killing with counterfeit bills. How all this works out is something you should see for yourself--and I really don't want to spoil the suspense by saying more.

When this fame debuted in 1949, Bridges and Hoyt were hardly household names. Bridges went on to great fame in the 1950s and 60s but here he plays a guy very much unlike his later roles--in "Trapped", he's just a nasty little hood. As for Hoyt, he's a face many will recognize though his name would escape most. He generally played cranky guys who were not the least bit macho or heroic, yet here he plays a man definitely against this type! In fact, it might just be one of Hoyt's best roles--if not his best. It's a shame, really, as he MIGHT have become a household name, as he was the original Doctor in the pilot episode of "Star Trek".

Overall, the film has a dandy script, is very entertaining and is a nice example of a lesser film noir movie that deserves to be seen. While not great, it certainly is very good and quite watchable.

Ordinarily you'd expect Lloyd Bridges to be tracking down perennial villain John Hoyt. But here the usual roles are reversed-- Hoyt's the government agent and Bridges the small time hood. The movie itself is pretty typical of the docu-dramas of the period. It's the Treasury Department's turn to get the Hollywood treatment with the usual glowing introduction and stentorian narration. Though, like the stellar docu-drama T-Men (1947), the docu part soon gives way to big city noir. However, this film lacks importantly the former's grotesque air of nerve-wracking suspense.

Director Fleischer and the writers manage a couple of nice twists, particularly at the beginning. Nonetheless, the script makes a basic error in switching the action from Stewart (Bridges) to Sylvester (James Todd) in the climactic part. (Was Bridges taken ill or otherwise made unavailable.) Unfortunately, Todd simply lacks the screen presence to intimidate an audience or make us loathe him, whereas Bridges can snarl and menace with the best of them. Thus the last third fails to generate the kind of mounting dread required of an A-grade suspenser. Then too, Hoyt's basically cold demeanor and cruel looks don't arouse much natural sympathy that would encourage you to identify with him. Thus, the suspense is further weakened by what should be an emotional interest in the treasury agent's fate. The casting here really is a departure from the expected and to the movie's detriment.

Note how the culminating shootout takes place at an industrial site-- the overnight barn for LA's late, lamented trolley system, where we get a look at what could have eased LA's horrendous traffic problem. Actually, industrial sites crop up in the climax of a number of crime dramas of the period-- White Heat (1949), 7-11 Ocean Drive (1950), Union Station (1950), et al. I guess producers of the time figured running around big machines and shooting at each other would make for colorful audience excitement. Of course, the movie's also notable for the presence of notorious Hollywood bad-girl Barbara Payton, who was involved in several tawdry Hollywood scrapes and apparently ended her brief life as something of a cut-rate call girl ("Hollywood Babylon"). Whatever the direction of her private life, she's quite good here as Bridges' shapely blonde moll.

Anyway, for its type, the movie's average at best.