Jordan le révolté

This is an early starring vehicle for Alan Ladd and like most of his early starring roles, he plays a bad guy. Lucky Jordan is a gangster who has been drafted. However, he has no allegiance to anyone but himself, so when the opportunity arises, he goes AWOL. In the process, he stumbles upon some military secrets and plans on selling them to the highest bidder. He also ends up kidnapping a spunky WAC. Now, with mobsters and Nazis in pursuit, is there any way Jordan can avoid getting killed?

One thing I noticed is that Ladd's delivery is different than in later films—a bit higher-pitched and a bit faster. It's obvious that he must have had some voice lessons after this film as it just didn't sound like him. As for the dialog, it was classic gangster lingo—the sort of stuff I love as well as other lovers of film noir. As a result, it was quite enjoyable. However, as it was planned first and foremost as a wartime propaganda film, the gangster aspect always took a back seat to patriotism. As a result, while the film was very effective in bolstering commitment to the war effort, the film itself was a tad of a letdown—especially since the viewer knew all along that by the end of the film Ladd would prove to be 100% American! Still, an enjoyable if slight and predictable gangster flick.

Lucky Jordan is an entertaining movie, and it highlights the many talents of Alan Ladd. His deadpan comic delivery of funny lines was one of his great strengths as an actor. There are several of those instances in this production.

There is a romantic interest, of course, but it does not complicate the basic premise; Lucky is a wise guy hood who wants to beat going into the Army during WW2. Initially, he is willing to do anything to achieve that goal; even sell out his country to spies. But, we all know by this time, that Ladd will eventually see the light and make his past mistakes a thing ro forget. An entertaining hour and change of fantasy.

This picture was fun to watch. Alan Ladd had a style as a gangster that counterpointed well with the wonderful Sheldon Leonard ("Hey, Buddy, ... C'mere!") Helen Walker presented an unusually perky, sexy look that was never really exploited in the movies. When she distracted the nazi spy he was not alone. I sat through the movie again to be distracted a second time. The picture may become a cult 'classic', if it has not already and I recommend most insistently that you view it. Ladd's involvement with the old 'bag lady' will touch you. Once again, for a light comedy, spy thriller (The Second World War was in full sway) it was away ahead of most of it's ilk. My favourite Alan Ladd movie.

Alan Ladd was the perfect actor to play a tough guy. Handsome, underplayed, with kind of a monotone delivery, he can come off as a swine. Hard-boiled detective or western hero with ease.

Here he's a mobster named Lucky Jordan, who is so repulsive he hires people the same height and coloring to double for him and exit a building first in case someone tries to shoot him.

When he gets drafted, Lucky insists that his lawyer (Lloyd Corrigan) get him out of it. The attorney isn't successful and suggests that Lucky find himself a parent that he has to support. He offers a drunken bag lady (Mabel Paige) begging for quarters $50 if she will pose as his mother.

It doesn't work. Lucky, who likes to sleep late, finds himself rousted out of bed at 5 a.m. For breakfast. Hanging out at the canteen more than he should, Lucky finds himself attracted to no-nonsense WAC Jill Evans (Helen Walker).

It doesn't take Lucky long to steal the car and coat of an army scientist, who just happens to be carrying confidential tank drawings in a briefcase, left in the car. He is also forced to kidnap Jill.

Lucky wants to sell the plans to foreign agents, despite Jill's protests. One of Lucky's nefarious associates, Slip (Sheldon Leonard) locates some spies who will pay mucho bucks for the plans.

This film combines drama, comedy, and propaganda and does it beautifully. We get to that Lucky isn't a bad guy after all when he develops a soft spot for "Ma."

Ladd does a wonderful job in a great role for him. This was the debut film for Helen Walker, whose career was cut short by scandal. Here she is an attractive ingenue and gets to show a dynamite pair of gams - quite different from her role as a ruthless psychiatrist in Nightmare Alley.

Sadly her career withered away when she gave three soldiers a ride to LA. She was in a horrible accident, and one of the soldiers died. The survivors accused her of being drunk, and she was brought to trial. Though acquitted, the bad press signalled the end of a promising career.

This movie is such a surprise and highly recommended.

Paramount had enough confidence in ALAN LADD (after THIS GUN FOR HIRE and THE GLASS KEY) to give him solo star billing above the title for LUCKY JORDAN. He fits the role of the cynical, wise-cracking Jordan, every inch the cocky wise guy who keeps getting into one scrape after another until the fadeout.

Instead of Veronica Lake, we have HELEN WALKER as the WAC he's forced to kidnap when she threatens to report him to the authorities for minor infractions. It's Walker's first film and she handles her chores with great assurance.

But the scene-stealer is MABEL PAIGE as an old wino who is chosen to act as Ladd's mother, so he can call her a dependent and avoid the military draft. Trouble brews when Ladd's own henchman (SHELDON LEONARD) is part of a scheme to turn over military plans to the enemy during World War II. Ladd gets back at Leonard on a few occasions but really throws the book at the mob when they beat up "his old lady."

All of it is directed at a fast pace by Walter Tuttle. The script is full of one-liners that draw a laugh, most of them delivered in crisp style by Ladd himself. It's easy to see why his popularity as the hottest male star at Paramount was cemented with this film. He's very believable as the cynic with a heart of gold. It's an energetic performance that made the studio realize they had a good prospect for stardom on their hands.

Only quibble: The print shown on TCM was a poor one needing restoration.