Eu, O Juri

I got the chance to see this film today in a movie theater in its original 3-D glory. And WOW- not NEARLY as mediocre as you've heard. The audience LOVED it- what WAS bad dialogue is now hysterically camp. Biff Elliot (the screen's first Mike Hammer) was in attendence, full of vigor at age 80. A charming man, some wonderful anecdotes about his Hollywood experiences, but in his first film, he doesn't cut it. However, the supporting cast is wonderful- Peggy Castle is not only beautiful, but does a wonderful film noir dame. And my almost-Mother-In-Law Margaret Sheridan turns in outstanding support as Mike's secretary Velda...sexy & wise-crackingly smart(she retired in the early 60's to be a housewife and mother to two daughters- unfortunately, she passed away from cancer in 1981). A lot of "B" stars show up, like Elisha Cook Jr. and Joe Besser(the great tie-in to Joe was the 3-D Three Stooges short PARDON MY BACKFIRE which was also shown). And, as for the 3-D, it was rarely shown in that format, and the print shown was definately worn by time, but while there was no mandatory "throw it in your face" shots, the 3-D emminently added to the film's mood, with some wonderful photography, especially in L.A.'s Bradbury Building. I will definately check this one out again, albeit in it's "flat" version!

A gun fires through a half-opened door. A one-arm dying man crawls towards the camera while the chair where his prosthetic arm lies moves back unabling him to reach it. In the next scene a man climbs up the stairs to find his army pal shot dead. This is the first Mike Hammer film in 3D and must be seen in 3D to really appreciate its quality. Fortunately there is an exceptionally well restored 3D version that makes of this film a rare noir gem. John Alton photography is breathtaking, especially in the zenithal shots - view from the top of the Bradbury Building (that has appeared in many other films such as D. O. A.) is simply stunning in 3D - and use of shadows. Light contrasts are superb. Although Alton won an oscar for An American in Paris his photography work for black and white movies is powerfully shocking.

No "tricks" here like a fire torch splashed into the camera eye. Any 3D detractor should watch this movie. Not the usual 3D method of emphasizing certain elements and relegating others was employed but all of them are in relief instead. The opening scene with the firing gun is maybe the only license to that use. The result it is an exciting watching experience that brings the whole set to life by highlighting every single element. 3D experience upgraded.

As for the cast, Biff Elliot plays decently although wooden a tough, rude and violent Mike Hammer, boxer- type (he had been a boxer himself in his youth). Peggie Castle plays a psychoanalyst and does an excellent femme fatale, Preston Foster has a small but solid role as a police captain and Margaret Sheridan is the ever- efficient Hammer secretary (Perry Mason's Della Street type). Role of the dead man was played by real life single -handed Robert Swanger in his only screen appearance.

Based on Mickey Spillane's book I, the jury some facts were changed - cocaine traffic to jewelry smuggling, twin sisters' nymphomania and Hammer's final shot from spontaneous to in response to be almost killed.

Special mention for the 3D-inside-3D view-master type shot surprise gem. This scene only makes the movie worth watching in 3D only and an enjoyable experience for any 3D and view master fan. Do not miss it.

The screen debut of Mike Hammer 'force of nature' and self-appointed judge, jury and executioner. Biff Elliott had an apt name to portray a detective who tends to punch in the mouth first and asks questions later. He does talk like a man whom has been hit over the head on numerous occasions but is totally outclassed by his co-star Peggie Castle, sensational as the duplicitous shrink Charlotte Manning. The narrative seems to consist almost entirely of scenes of vicious beatings-up and murders, and as in so many other movies of its type, the hero can take any amount of punches to the face and emerge unscathed. I might have found it all rather tiresome had the film been more efficiently constructed, but the generous amount of ludicrous dialogue and the generally ham-fisted approach made it almost perversely entertaining. I was amused by good old Elisha Cook Jr. and his queen bee, though this inadvertently pointed Hammer in the right direction. The finale, with the now desperate Charlotte's attempted seduction of Hammer, is unforgettable.

This 1953 film is the first screen depiction of Mickey Spillanes famous detective character Mike Hammer and the only "film noir" I know of that was filmed in 3D. Other than that and the films memorable closing and opening scenes, this film isn't much. Most the cast is good, but the problem lies with the totally mis-cast Biff Elliot as Mike Hammer. He is to young and boyish looking. Ideally, Mike Hammer should be played by someone in their mid thirties or forties; old enough to have grown jaded and world weary, but still young enough to woo the babes and take the punches. Biff Elliot looks and acts like he just got out of detective school. Parklane productions blew it by casting Elliot, who not only wasn't the right type but an actor who never had any screen presence. No wonder he mostly never got more than bit parts after this. Being the first actor to play Mike Hammer is about the only role anyone recalls when his name comes up. Parklane did right in the next Mike Hammer film by casting Ralph Meeker. Even Robert Bray (MY GUN IS QUICK) made a more convincing Mike Hammer. In fact, even Armand Asante was better.

I consider this film to be the best one about Mike Hammer, with Biff Elliott's performance the definitive Mike Hammer. Harry Essex's script is excellent and contains many improvements on Mickey Spillane's novel. His direction is strong and imaginative, and he makes fine use of light and shadow. The camera work by John Alton is top-notch, as is the score by Franz Waxman. The cast includes many veteran players, as well as Peggie Castle in her memorable performance as Charlotte Manning. All in all, this is one of the finest private eye films ever made. Biff Elliott and Haary Essex should have received more opportunities. I have always treasured this film.