Lutte sans merci

This is one of Alan Ladd's last films, and his age is showing. But his acting is more than adequate, and it's a pleasure to see him in a role like this (aerospace engineer, husband) rather than "Gun for Hire", "Shane", "Blue Dahlia", "The Iron Mistress". etc. So much of his work was done in costume, he looks strange dressed like a suburban professional.

I had fairly low expectations going into this one, but the film quickly churns into full noir-ish life as one of the last of what was to be a dying breed of movie--a psychological thriller pulling us close to the world of the always fascinating Alan Ladd as he runs head on into forces beyond his control. (I disagree that Ladd's personal problems detract from his performance at all. In fact to me the intentional darkness of the mood is simply strengthened by Ladd just as he was able to do in a dozen other gripping dramas both large and small. This is a "small" drama, to be sure, but none the less intense and intriguing.

A plot theme emerges here treated the way a great noir director of the 40's might have treated it--pathological youth violence, a real social problem often glossed over {Rebel Without A Cause, for example) or in later 1960's films glamorized and turned into the iconic images for a new generation.

But here it is--stark, vicious, mindless, and cruel just because people can get away with it. This is a brave and unflinching film and a real treat for those who appreciate the genre. Keep your expectations modest and it will surprise you quite happily!

Alan Ladd, Rod Steiger, Michael Callan, and Delores Dorn star in "13 West Street," from 1962.

This was Alan Ladd's last starring role, and, frankly, it was heartbreaking to see him. He looks all washed up and shows the effect of his alcoholism. He plays an aeronautics engineer. Walt Sherrill, who comes up against some juveniles and is badly beaten by them, left with a broken leg, a concussion, and other injuries. The biggest injury seems to be to his psyche.

Dissatisfied with the progress of one Detective Koleseki (Steiger), Sherill hires a private detective (Stanley Adams) to help track down his attackers. The kids seem to be from a good school and good families.

It's not long after he returns from the hospital that he and his wife (Dorn) begin to receive threats, warning them not to continue the investigation. Sherrill is driven to take the law into his own hands, to the consternation of Koleski and Mrs. Sherrill.

Juvenile delinquency was a hot topic in the 1950s. Of course, what was considered juvenile delinquency then - souped up hot rods, talking back to parents and teachers, and chewing gum, seems like good etiquette now. Here, Michael Callan, Chris Robinson, and Arnold Merritt are spoiled kids whose parents let them get away with murder. Landry (Callan) is the one with no conscience, and he has control over the other kids.

Of interest to me was the Mrs. Cleaver concept of Ladd's wife, Dorn, and the mothers - Jeanne Cooper and Margaret Hayes - being impeccably dressed mid-day and not seeming to do much other than relax by the pool or mixing a drink.

Rod Steiger is excellent as a careful, calm detective who doesn't get rattled easily; beauty pageant winner/stage actress/acting teacher Delores Dorn is lovely as Sherrill's wife.

Alan Ladd had a short but very successful career. He had a Grapes of Wrath childhood, he watched his mother poison herself and die, he was of small stature - that he became such a star, had a family, and made it to 50 was a miracle. He left a strong legacy. That's how I want to remember him.

This is an above average programmer that benefits from decent, if predictable, performances by Alan Ladd and Rod Steiger. Ladd is a rocket scientist who gets mugged on the way home from a late night at the office by a roving band of Beverly Hills punks led by Michael Callan. What follows could be considered Death Wish 1962, as Ladd pursues the villains whilst police officer Steiger tries to keep him under control. Good photography by Charles Lawton Jr. and a reasonably interesting George Duning score make this one to watch on a cold winter's night.

I saw this film with my dad at the now long gone Miami Theater on Flager Street in Downtown, Miami, Florida when I was a kid. I remember it being in black & white, and that Alan Ladd looked tired and worn out. But, if you're a fan of Ladd, this film is a must-see. Again, as is the case for most fading, washed-up actors, even though the film is third rate, the script fair, and the budget no-where to be seen, Ladd gives a talented performance. It's far from his best(Shane), but you can see that he's giving the best-he-can, with what he had left. Only about 50 here, he looks to be in his mid-60s. However, he still had that lean, trim, build, and that look of confidence. A fine supporting cast adds to this out-dated period piece. Made in 1962, it is corny stuff, but surprisingly was a prediction of the "senseless" violence to come. Better than you'd think.