Rogue Cop (1954)/ Tight Spot (1955)
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Mr. Arkadin
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Rogue Cop (1954)/ Tight Spot (1955)
Never seen either of these, but they look interesting and have good casting. Anyone have any info?
ROGUE COP starts off promisingly enough with the absence of music on the soundtrack---heightening atmosphere greatly. But it runs out of steam for me. Can't say why exactly, just not very compelling. I don't care much for TIGHT SPOT either, although I enjoy Robinson. Ultimately both films are pretty ordinary.
I like PUSHOVER, also tomorrow, much more than both of them. Better still is DRIVE A CROOKED ROAD with Mickey Rooney and Kevin McCarthy, also part of the lineup. Columbia noirs from the 50s are truly a mixed bag.
I like PUSHOVER, also tomorrow, much more than both of them. Better still is DRIVE A CROOKED ROAD with Mickey Rooney and Kevin McCarthy, also part of the lineup. Columbia noirs from the 50s are truly a mixed bag.
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MissGoddess
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MissGoddess
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ROGUE COP wins me over, pretty much on the cast list - then again, I collect anything with George Raft in it. Vince Edwards doing his young hired killer, too. And Alan Hale Jr, too?!! Robert F. Simon? Jeepers, how many films did NOT have a Simon, Charles Lane or Robert Keith in it?
("A: Not too many between 1945 and 1960.")
It also has a great shootout finale, too. I'm glad to see that, as a veteran of many shoot-outs, George Raft knows how to look UNDER the car and shoot one more time. Whew! Those revolvers really needed the Infinite Bulletpak that some of the Westerns offered.
Taylor and his boss have one of the best dialogued arguments - his boss says he's too old to put on his 'ashes and blind robes' and Taylor says he's too old to pretend to be anything but a crooked cop.
And poor Vince Edwards. Here it is, 1954, and he's killing cops, gets arrested and shot at by his mob bosses. Yet, a few years later, he's asking to be another hit-man in MURDER BY CONTRACT!
Fortunately, it only took him 3 more years for Med School before he landed a doctor job. He FINALLY learned!
("A: Not too many between 1945 and 1960.")
It also has a great shootout finale, too. I'm glad to see that, as a veteran of many shoot-outs, George Raft knows how to look UNDER the car and shoot one more time. Whew! Those revolvers really needed the Infinite Bulletpak that some of the Westerns offered.
Taylor and his boss have one of the best dialogued arguments - his boss says he's too old to put on his 'ashes and blind robes' and Taylor says he's too old to pretend to be anything but a crooked cop.
And poor Vince Edwards. Here it is, 1954, and he's killing cops, gets arrested and shot at by his mob bosses. Yet, a few years later, he's asking to be another hit-man in MURDER BY CONTRACT!
Fortunately, it only took him 3 more years for Med School before he landed a doctor job. He FINALLY learned!
My expectations for TIGHT SPOT were considerably lower but Ginger shows a whole other side to her. This could have been a Shelley Winters or Joan Blondell role - and Ginger's used her years and cropped hair to give her a hard edge. I think she's turned in a top-notch performance - another role that shows she can still dance backwards and in heels better than her co-stars.
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moira finnie
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Tight Spot (1955)
I recently caught up with Tight Spot (1955) and must add my admiration for Ginger Rogers' tough gal opposite summer under the stars boy Edward G. Robinson (playing a DA), and Brian Keith as a troubled cop she takes a shine to during the movie. I thought that Ginger gave a pretty good rendering of a 44 year old "girl" just out of prison and whisked away to a "swanky" hotel for safekeeping when it is learned that she may have the goods on a fabled mobster boss. Emotionally hungry, toughened by her time in the joint, and still smarting from a lifetime of hard knocks, most of the people I've come across commenting on this flick seem focused on her unflattering haircut (hello, she was in prison, not beauty boot camp). I like those occasions when Rogers, who could sometimes appear too slick in her movies, tapped into her "inner chorine" as she did so winningly here and in her sparkling work in Stage Door, The Major and the Minor, and especially as Roxie Hart.
Ginger Rogers, character actress, who was not seeking hairstyling advice from Edward G. Robinson. Isn't it funny that while at Warner's in the early '30s these two never did a movie together? (They both appeared separately in segments of the delightful Fox anthology film directed by Julien Duvivier, called Tales of Manhattan (1942). Eddie's part of that movie was among the best in that film, Ginger's was probably the most conventional, alas.)
While she was somewhat too flamboyant at times, (particularly in the ham-fisted scene with her sister), I thought she gave her role a great deal of flair. Her flirtation with the permanently rumpled Brian Keith, who seemed to be
a.) guilt-ridden
b.) sleep-deprived
c.) hungover
was not credible, at least to me. His transition in the movie was pretty well done. I liked the note of comedy injected into the scene in the newlyweds' hotel room after a botched hit on Ginger occurred when Keith deadpanned to the jittery bride and groom whose wedding night was marred by a violent interruption that "yes, that was blood on his shirt", but he'd been shot only twice in the chest. Another detective calms the bride after Keith leaves, explaining that he'd really been hit three times, but they hadn't broken the news to Brian just yet.
Brian Keith, who creates a credible portrait of a detective with something nagging his conscience.
I might believe that events might make him sympathetic to Ginger Rogers' character, though I don't think an alliance was in the offing for this star-crossed pair. Gradually Ginger confesses that she wasn't really a good time gal who saw anything while visiting a mobster's yacht, but she does like the good life, scarfing down big meals, all the perks she can get, and devouring Keith with her eyes. Her later assertion that she doesn't really know nuthin' gives Eddie Robinson a chance to show some muted fireworks, as he vents his spleen against those who would take but not give to society. Robinson, who was said to need the work at the time thanks to being "graylisted" by the McCarthyites, does a fine job as a somewhat non-plussed DA trying to pin something on a notorious mobster that will enable him to ship the guy back to his land of origin, (for which Italy will, of course, be really grateful).
Director Phil Karlson does what he can, (on an obviously small budget) to open up the stagey setting of Tight Spot's hotel room, which becomes one more cell for poor Ginger as she tries to make up her mind whether or not she should spill the beans on Mr. Big to the grand jury. Karlson uses long corridor shots, dramatic light and shadowing, and delightfully corrupt Lorne Greene's apartment as the ultimate spider's web, complete with luxe moderne touches, mid-50s style. As he did in Autumn Leaves, before he rode off to the Ponderosa, Greene had the makings of a really enjoyable miscreant. Too bad he opted for a steady income and a kind of immortality as the most boring man in tv history.
Lorne Greene as Costain, the baddie with the hooded look who eats guys like Keith for breakfast. Too bad Greene didn't come along earlier in the film noir cycle. He might have had a more interesting career.
Ginger Rogers, character actress, who was not seeking hairstyling advice from Edward G. Robinson. Isn't it funny that while at Warner's in the early '30s these two never did a movie together? (They both appeared separately in segments of the delightful Fox anthology film directed by Julien Duvivier, called Tales of Manhattan (1942). Eddie's part of that movie was among the best in that film, Ginger's was probably the most conventional, alas.)
While she was somewhat too flamboyant at times, (particularly in the ham-fisted scene with her sister), I thought she gave her role a great deal of flair. Her flirtation with the permanently rumpled Brian Keith, who seemed to be
a.) guilt-ridden
b.) sleep-deprived
c.) hungover
was not credible, at least to me. His transition in the movie was pretty well done. I liked the note of comedy injected into the scene in the newlyweds' hotel room after a botched hit on Ginger occurred when Keith deadpanned to the jittery bride and groom whose wedding night was marred by a violent interruption that "yes, that was blood on his shirt", but he'd been shot only twice in the chest. Another detective calms the bride after Keith leaves, explaining that he'd really been hit three times, but they hadn't broken the news to Brian just yet.
Brian Keith, who creates a credible portrait of a detective with something nagging his conscience.
I might believe that events might make him sympathetic to Ginger Rogers' character, though I don't think an alliance was in the offing for this star-crossed pair. Gradually Ginger confesses that she wasn't really a good time gal who saw anything while visiting a mobster's yacht, but she does like the good life, scarfing down big meals, all the perks she can get, and devouring Keith with her eyes. Her later assertion that she doesn't really know nuthin' gives Eddie Robinson a chance to show some muted fireworks, as he vents his spleen against those who would take but not give to society. Robinson, who was said to need the work at the time thanks to being "graylisted" by the McCarthyites, does a fine job as a somewhat non-plussed DA trying to pin something on a notorious mobster that will enable him to ship the guy back to his land of origin, (for which Italy will, of course, be really grateful).
Director Phil Karlson does what he can, (on an obviously small budget) to open up the stagey setting of Tight Spot's hotel room, which becomes one more cell for poor Ginger as she tries to make up her mind whether or not she should spill the beans on Mr. Big to the grand jury. Karlson uses long corridor shots, dramatic light and shadowing, and delightfully corrupt Lorne Greene's apartment as the ultimate spider's web, complete with luxe moderne touches, mid-50s style. As he did in Autumn Leaves, before he rode off to the Ponderosa, Greene had the makings of a really enjoyable miscreant. Too bad he opted for a steady income and a kind of immortality as the most boring man in tv history.
Lorne Greene as Costain, the baddie with the hooded look who eats guys like Keith for breakfast. Too bad Greene didn't come along earlier in the film noir cycle. He might have had a more interesting career.
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klondike
Re: Tight Spot (1955)
I find it strangely ironic that another character actor frequently typecast as a hulking heavy in '50's noirs, one Mr. Raymond Burr, wound up opposite Lorne Greene in a rival time-slot on Sunday night television in the early 60's, resulting in a competion for ratings in their portrayals of different-but-equal bastions of moral justice, on Perry Mason & Bonanza, respectively.moirafinnie wrote:
Lorne Greene as Costain, the baddie with the hooded look who eats guys like Keith for breakfast. Too bad Greene didn't come along earlier in the film noir cycle. He might have had a more interesting career.
In my feverish stupor I was able to watch Tight Spot. I have to agree about Ginger Rogers. I'd never seen her other side so this was a real treat for me and I absolutely loved it. I groaned at the seemingly gruff cop falls in love with girl from the wrong side of the tracks direction the movie was heading in so I was pleasantly surprised when it didn't really turn out that way.
Lorne Greene was very powerful in his brief scenes. I kinda wish he had more to do because he really did an exquisite job. As for Eddie G.? Well he was his standard self. Seriously the guy never gave a bad performance.
Lorne Greene was very powerful in his brief scenes. I kinda wish he had more to do because he really did an exquisite job. As for Eddie G.? Well he was his standard self. Seriously the guy never gave a bad performance.
Well I missed Rouge Cop. 
I liked Ginger in Tight Spot a little more than the movie itself. I thought it was a good later role for her and yes I know that a discussion over at TCM did devolve into a debate on her hair.
I think the film really depends on the viewer buying into her character. If you don't believe her performance I don't think you're going to like the film. I like seeing Ginger playing a tougher kind of character.
I liked Ginger in Tight Spot a little more than the movie itself. I thought it was a good later role for her and yes I know that a discussion over at TCM did devolve into a debate on her hair.
I think the film really depends on the viewer buying into her character. If you don't believe her performance I don't think you're going to like the film. I like seeing Ginger playing a tougher kind of character.
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moira finnie
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Welcome to the club, Molo. I came in on Rogue Cop 15 minutes before the denouement, just as Robert Taylor sidled up to Olive Carey as the newsstand owner/queen of the stoolies and relished her salty dialogue with him.
Hope I get to see this movie in its entirety someday, darn it!!
Bogie, what's this 'feverish stupor' you mention? Hope you're feeling better.
Hope I get to see this movie in its entirety someday, darn it!!
Bogie, what's this 'feverish stupor' you mention? Hope you're feeling better.
Molo said: I know that a discussion over at TCM did devolve into a debate on her hair.
Hi Molo -- I think any time the discussion about a film drifts into one about the hairstyle of the actress then it's safe to say that there's something deficient about the film. Phil Karlson, the director of TIGHT SPOT made several far superior noir films during his career, namely SCANDAL SHEET (52), KANSAS CITY CONFIDENTIAL (52), 99 RIVER STREET (53) and PHENIX CITY STORY (55). The same could be said for Roy Rowland, who directed ROGUE COP. His noirs WITNESS FOR MURDER (54) (also just recently aired on TCM). SCENE OF THE CRIME (49) and THE GIRL HUNTERS (63) are all far more compelling films.
Hi Molo -- I think any time the discussion about a film drifts into one about the hairstyle of the actress then it's safe to say that there's something deficient about the film. Phil Karlson, the director of TIGHT SPOT made several far superior noir films during his career, namely SCANDAL SHEET (52), KANSAS CITY CONFIDENTIAL (52), 99 RIVER STREET (53) and PHENIX CITY STORY (55). The same could be said for Roy Rowland, who directed ROGUE COP. His noirs WITNESS FOR MURDER (54) (also just recently aired on TCM). SCENE OF THE CRIME (49) and THE GIRL HUNTERS (63) are all far more compelling films.