Haecker

Dick Powell, a favorite actor of the Noir genre, stars as military intelligence officer Haven, a smart aleck undercover investigator looking into the deaths of two soldiers. Everything appears, on the surface, to be fairly cut and dried, but a good script and excellent acting creates the moody atmosphere necessary to turn this unassuming western town into a darker place where things are not always as they seem. The plot is tight and the viewer should be prepared to pay attention lest she or he miss important plot points. Greer's performance is flawless, and even the actors who have few lines or quick cameos (Burr's performance comes to mind here), fully invest in their characters.

The filming is rather innovative for the time, with realistic hand-held shots peeking through tree branches, at saddle level, or in the case of the aforementioned fight scene, employing angles that join Powell and Williams as they brawl on the dusty bar-lit road. Lanfield invites the viewer into the scene, creating a first person viewpoint that is entirely intimate.

There are a few flaws in the writing, but on the whole, viewing Stations West is an excellent way to spend 80 minutes. Very entertaining!

Edward Montagne's Tattooed Stranger is supposed to play like a crime thriller with a little film noir mixed in for flavor. Instead, it's a poorly acted, witless look into low budget and uninspired film making. The plot is absurd and the acting excruciatingly stiff and amateurish. John Miles, who had a rather thin resume in the industry, grins and guffaws throughout, and everyone else acts with the same verve as characters in a government-made filmstrip about driver safety. The movie anticipates shows like 'Leave it to Beaver' and 'Father Knows Best' in its unnaturally wholesome view of New York in 1950. Why, the viewer doesn't even get to see anyone light up a cig until some shapely woman is interviewed in a flophouse halfway through the movie. The only thing the movie has going for it (besides its brevity) is the excellent location shots coordinated by William Steiner. The low budget of the film works in the cinematographer's favor, as the viewer is treated to well-framed shots of New York City's interiors and expansive exteriors. Unless you wish to enjoy the film for the choice of settings and camera angles, I suggest watching practically any other movie.

Robert Fleischer's film Armored Car Robbery is, in many aspects, a straightforward heist movie. It features all of the usual suspects, including a bunch of ragtag tough guys, a heartless dame who only cares about the promise of lots of 'lettuce', and a lantern jawed, square shouldered cop who deep down really cares about his partner. These caricatures are expected and well played; what was a surprise was how well William Talman filled a role a less skilled performer might have slept through. Talman, who played the leader of the gang, infused his character with a flinty, almost sociopathic nature that plays as believable and chilling. Additionally, the movie had great momentum, one that moved a somewhat predicable plot forward at a gripping and exciting pace.

All of the actors gave good to excellent performances, though Charles McGraw's character was a smidge too one dimensional at times, as he spoke his clipped sentences through gritted teeth and wore the heroic big suit like a comic book lieutenant. Still, an enjoyable heist film that won't disappoint fans of the crime or noir genres. Some lovely visuals as well!