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It seems the late, great actor, David Jansen always chased fame during his cinematic life. On television he was 'the fugitive' and due to its popularity, became not only a household name, but a fixture in American language. On screen, his movies are a thin veneer of what he really could have achieved. As one of his most ardent fans, I always believed he would one day peak. In this film called " Warning Shot " he came awful close to the mark. Within the story he plays Sgt. Tom Valens, a veteran L.A. police officer with a serious approach to his job. However five years prior, he tried to arrest a scared young punk who fired his gun hitting Valens in the gut, leaving him apprehensive about future suspects with guns. As a result, when Valens is assigned to a stakeout at an exclusive apartment complex, he confronts another frightened suspect and orders him to halt. The suspect instead runs suspiciously and when cornered draws what appears to be a pistol, prompting Valens to shoot first. It is later learned the man Valens' killed was not only a revered and social philanthropist, but a highly respected doctor, catering to the poor. Sadly, no gun can be found. Suspended from duty and placed on leave, Valens is advised to enlist a high profile attorney who like most others, advises his client to plead guilty and ask for leniency. Valens states he is a sore looser and opts instead to prove the good doctor was not so saintly as everyone seems to think he was. The film is highly underrated and with the star power has become a cult favorite. Ed Begley who plays Capt. Roy Klodin, Keenan Wynn who plays Sgt. Ed Musso, Carroll O'Connor, Steve Allen, George Sanders and Walter Pideon are among the most notable stars who have bit parts in the film. Together, along with the haunting theme by Jerry Goldsmith they are the reason why this film succeeds in becoming a David Jansen Classic. ****

It's a definite cult classic - that's all that I can say. But it does have an incredible cast, filled with once and future stars. The direction is quite stylish, and the theme is still timely. In many ways, _Warning Shot_ is rather like a film-noir shot in color. Like DOA, there's the theme of one man against the entire world - and the forces of time, also. There is emphasis on his need to prove himself - because he is a man. Like all noirs, the actual plot is irrelevant, although Whit Masterson (Touch of Evil) did think up some good twists. It's the atmosphere that you take away with you from this one.

What can I say. Just bought the DVD for the all-star cast. Out-dated story of a LA police detective who shoots a Beverly Hills doctor who he claims pulled a gun on him, but no one can find the gun. The rest of the movie shows the detective trying to prove he is not guilty, and that the well-respected doctor was really a bad-guy after all.

Lots of well-known stars in the movie, but the standout is the Elenor Parker who looks very sexy and plays the part of a sexed-up, drunken widow to the tilt. Aside from that, and a few laughs regarding butter milk, this 1966 Who-Done-It is bested viewed on a rainy Saturday afternoon, the one which I'm having right now.

Despite making a few lousy films, such as DONDI and THE GREEN BERETS, I've always liked David Janssen. He was a pretty good actor and I like seeing movies featuring relatively unattractive people because they are much more like us, the average viewer, than the more glamorous stars.

WARNING SHOT is just one of the movies Janssen did that I really like. It's a seemingly ordinary story about a police shooting but it is so well-written and realistic that the film sucks you inside and keeps your attention. It has the look of a TV movie (with its production values) that is written for a thinking audience who doesn't just want to watch shoot outs and fights.

You can take Buzz Kulik's Warning Shot one of two ways. It's either a crackling good cop show, filled with procedure and great pacing, and David Janssen at his most heroically pathetic (and empathetic) as an LAPD detective facing a manslaughter charge or the movie is an over-clichéd snapshot of forced topicality in the Mirandized late '60's. It's really your call.

I'd like to think of Warning Shot as both, the way The Detective and Madigan mixed the vulnerable with the vulgar. After about the fourth time Janssen's character, Tom Valens, gets abused or beaten or gassed by the well-to-do slimeballs he's sworn to defend, you might start to notice how he'd probably be better off copping a plea for shooting a philanthropist doctor. Instead he swears grimly that he's going to defend his own honor to the bitter end (and repeatedly almost gets his way).

Warning Shot is packed with cameos, people who were legends when I was a kid, and now, forty years after its release, most of the performers are unrecognizable, which makes the story more accessible and less of an exercise in "Hey, look--it's . . . "

What makes the movie work is that David Janssen, looking ten years older than 35, is so very real as a man of good character with no excess intelligence, just grim determination.

A key figure in the story refers to Valens as "Sgt. Gumshoe" or something like that. It fits. Janssen's Valens is ordinary and vulnerable to the hyperventilating police-haters all around him. He can't do much more than reel and lurch from one disaster to the next, while awaiting his guaranteed-to-be-convicted trial. At one point, he gets the stuffing kicked out of him and doesn't even lay a finger on his attackers.

His ex-wife (played by the reptillian Joan Collins) tries to screw him while busting the very organs she's depending on for their quickie. The District Attorney (the equally scaley Sam Wannamaker) announces to Valens that he likes to crush solid and stolid cops whenever possible. By the end, Janssen has no one to turn to for even the most rudimentary support, not even a union rep (a very young and lovely Stephanie Powers, the dead doctor's nurse, can do no more than cluck over his sincerity and give him a ride home).

Nobody can help this poor shlub except himself.

Which brings me back to why Warning Shot is a mixture of reality and topical paranoia. Often, in crisis, people have to revert back to their core values to save themselves. Either they don't have anyone to help them or they don't trust anyone and decide to go it alone. Janssen's Tom Valens does just that.

Yet, at one point, he's told that his career is through no matter what happens. You can see the pain of this reality on Janssen's face as he surveys the damage he's done at the end of Warning Shot. He tosses his piece on the hood of a police car (no gun love here--it's just an ugly tool he wants out of his hand) and looks almost ready to cry from frustration and exhaustion. Like Frank Sinatra's Joe Leland and Richard Widmark's Dan Madigan, Tom Valens needs to get as far away from police work as possible.