Sunday, January 17, 2021



"He Squealed On His Gang...And The Word Was Out...WASTE HIM!"

 RUN ANGEL RUN from 1969 is notable for having several "firsts" attached to it. It was the first biker film that William Smith (THE LOSERS 1970) appeared in and in which would be a genre that he in the coming decade he would become synonymous with. It also marked the acting debut of blog favorite Margaret Markov (BLACK MAMA WHITE MAMA 1973) and most importantly was the directorial debut of the great Jack Starrett (RACE WITH THE DEVIL 1975) who would go on to helm a string of drive-in classics along with being a vastly underrated actor (check him out as the evil deputy in FIRST BLOOD).

Produced by Joe Solomon (WEREWOLVES ON WHEELS & ANGELS FROM HELL and who specialized in these) and Paul Rapp SCREAM FREE & THE STUDENT NURSES) it was released during the pivotal year of 1969 for biker films that also included the classics THE CYCLE SAVAGES, FIVE THE HARD WAY, HELL'S BELLES, HELL'S ANGELS '69, NAKED ANGELS, SATAN'S SADISTS, and of course EASY RIDER. All of which would lead to an explosion of choppers, iron crosses, and sleaziness which burst on the screen the following year. Although an exploitation genre film at its core (including a couple of brutal offscreen rapes) there is a surprisingly rather tender love story in RUN ANGEL RUN that makes this film a bit of an outlier.   

Angel (William Smith) has incurred the wrath of his fellow outlaw cycle gang members as he has sold a tell-all story about the biker lifestyle to a major weekly news magazine (titled "Like") for the sum of $10,000.  Unfortunately, Big Bill Smith did not seem to think this one through too carefully as not only does he have to wait two weeks to collect his payment but in addition, he must drive from his home base of L.A. up to San Francisco to retrieve it. Adding to his problems he is thrown in jail and upon having bail posted by his girlfriend, Laurie (Jack Starrett's daughter Valerie Starrett) he learns surprisingly (to him at least -somewhat oddly it would seem) that he is the subject of a massive manhunt by the biker community. All of whom are angrily clutching the magazine while snarling vengeance.

Heading off on his chopper with Laurie he is immediately sent upon by a gang of bikers who pursue him to a railroad yard where Starrett stages an excellent chase sequence involving a moving train that climaxes with Laurie jumping into an open boxcar (probably courtesy of stunt woman Randee Lynn Jensen) and Angel jumping his bike on a flatcar which is helped by some quick editing and changeover from a chopper to a motocross bike for the jump. The sequence also has some multi-screen editing and is a precursor to what a great director Starrett was and his feel for staging terrific action sequences. 

After tangling with some hobo-rapists Angel and Laurie take to the backroads and finding themselves in a small, isolated town they set up home in an abandoned house and attempt a kind of domestic tranquility (which is shaky at best) as Angel gets a job with local sheep rancher Dan Felton (Don Kemp THE GIRLS FROM THUNDER STRIP) where he initially seems eager to settle down. He bonds with Felton after repairing the rancher's antique motorcycle and begins to learn the intricacies of sheep farming including "sheep dipping"(??). Things turn dark when Angel's old gang tracks him down and begin their brutal revenge which tragically involves Felton's teenage daughter Meg (Margaret Markov).

Made for under $100,000 and shot in 13 days it went on to gross 13 million at the box office putting it directly behind A BOY NAMED CHARLIE BROWN and just ahead of THE WILD BUNCH making it one of the most successful films of the outlaw biker drive-in genre. Starrett gets the most out of the film's meager budget and it does get bogged down for short periods of time with some of the mundane plot elements there's slow-building tension as Angel's old gang tracks him down. Although the scenario of the biker wanting to quit and go straight would be used later (such as 1970's ANGEL UNCHAINED), RUN ANGEL RUN is deservedly considered one of the best among the golden period of biker films. 

Thanks to an engaging script and the presence of William Smith who even in this early big screen appearance has a gravitas that comes bursting through. Although seeming eager to settle down with Laurie ("the straight life") he slowly begins to get frustrated only coming to life slowly with the restoration of Felton's antique motorcycle and later during the film's violent climax.

Markov who although in a small early role here shows the beginnings of her later cult status as an actress in the coming decade who is not only a beautiful face on the screen (she is one of those actresses that the camera seems to love) but bringing a wonderful presence to her film roles. After her marriage to actor and later producer Mark Damon (THE DEVIL'S WEDDING NIGHT), she would drop out of sight but in the past several years has turned up in several DVD extras and documentaries. 

The screenplay was written by Jerome Wish (his other two credits are THE GAY DECEIVERS and ANGELS FROM HELL) and a V.A. Furlong. As this is the pseudonym-sounding V.A.'s only screen credit I'm wondering if it could actually be Jack Starrett? The busy Stu Phillips (BEYOND THE VALLEY OF THE DOLLS, THE CURIOUS FEMALE, FOLLOW ME, and a truckload of other credits) supplies the score with the catchy & melodic (and a bit out of place) title theme by country superstar Tammy Wynette with some additional songs by The Windows.   

The full-frame DVD from Media Blasters is taken from a VHS master and features a Joe Bob Briggs commentary.

Saturday, December 12, 2020

Force Of Evil 1948


The Marie Windsor Blogathon 
Hosted By Toby Roan over at 50 Westerns From The 50's

     While undoubtedly a film-noir (and one of the best IMO) Abraham Polonsky's 1948 FORCE OF EVIL while containing the classic noir elements such as the main character on an inevitable road to his fate that he cannot change, a beautiful (although not central) femme fatal and a dark and forbidding cityscape, there are other underlying things at work here. Unlike other noirs FORCE OF EVIL deals with shady lawyers and businessmen who control the lives and fortunes of those below them and was also one of the first films along with NEW YORK CONFIDENTIAL 1955 and THE BIG COMBO 1955 that showed crime as a corporation while inserting its tendrils into the very core of society. Because as in a way it could be seen as an anti-capitalism statement this film was the main reason for Polonsky to run afoul of the infamous House Committee on Un-American Activities (which John Garfield was also tragically involved with).
     Garfield plays ambitious young attorney Joe Morse who has a secret phone locked in his desk drawer that is a direct line to his main client mobster Ben Tucker (Roy Roberts HE WALKED BY NIGHT). Morse is in cahoots with Tucker in an attempt to gain control of the numbers racker in NYC by forcing out the small betting parlors by rigging the winning numbers. One of the interesting things FORCE OF EVIL does is that it gets down into the real nuts and bolts of the numbers racket in which millions of people made nickel & dime bets on a set of three numbers that were picked from horse racing results. As one character says in the course of the film "it's a petty crime" but FORCE OF EVIL shows hows that those small bets add up to millions of dollars that are used to pay off corrupt politicians, judges, and police.

   Morse has a brother Leo (Thomas Gomez KEY LARGO) who runs one of the small numbers parlors with which Joe Morse has made an agreement with Tucker to save and fold into the new large "corporation". Unlike most other film-noir that deal with shadowy figures dealing in robberies and murder FORCE OF EVIL puts the criminal activity in line with lawyers, wall street, and businessmen all of which are conspiring against the working class. The Morse brothers relationship is one of the primary plot points setting up a Jekyll and Hyde thing with the overtly corrupt lawyer contrasting with his crooked albeit decent working-class brother. While each brother cares for each other their motives and actions shift considerably as they move toward a tragic outcome. 
   Joe also begins a relationship with Doris (Beatrice Pearson) a young woman who works for Leo in a minor job and along with several other employees of Leo's are presented as the true innocents in the unfolding drama with Leo shown as a father figure and caring employer who feels actual empathy for his staff and is powerless as they're shallowed up and used by the big corrupt businessmen. 
    The story itself is terrific with well-written amoral characters and was based upon a book by Ira Wolfert titled Tucker's People which was published in 1943. The book was optioned by Garfield's newly formed Enterprise Productions which he started after his contract at Warner had expired and this was its second production which was preceded by BODY AND SOUL in 1947 (and was also directed by Polonsky). 
     If there is a fault with FORCE OF EVIL it is that it does become very "talky" at certain points as characters seem to engage in lengthly & highly detailed (and highly unlikely) conversations that explain in minute detail the workings of the racket which does help explain things to the audience but are kind of tedious. This however is more than overshadowed by the cast and production including beautiful cinematography by George Barnes who had shot JANE EYRE and Hitchcock's SPELLBOUND and REBECCA. The film makes great use of actual NYC locations much of which was shot in the very early morning hours which lends an empty and desolate feel to the city. There are several terrific sequences including a beautifully edited shooting in a basement restaurant while a Beethoven piece plays plaintively on a phonograph and a nail-biting shootout in a dark office.

    Garfield is terrific as the ambitious lawyer who is blinded by his greed and it's his internal narration that contains many of the scripts most poignant lines ("A man could spend the rest of his life trying to remember what he should have said") and it's interesting to see busy character actor Roy Roberts who usually played stuffy executives and business-types here take that characterization to the dark side. Howland Chamberlain (THE BEST YEARS OF OUR LIVES) has a very symptomatic part as Leo's tragic accountant and he too was blacklisted after his appearance in HIGH NOON and didn't work again until the 70's.
      In one of her first credited roles, Marie Windsor has a small but very memorable role as gangster Roy Roberts's wife and has two nice dialogue sequences with Garfield. Although sadly underused as initially as her character is set up as the classic noir femme-fatal and although she obviously is trying to seduce Garfield their relationship doesn't lead to his downfall. She is, however (as always) unforgettable here, and when she's curled up in her black dress with those gorgeous eyes seductively conversing with Garfield's Joe Morse you wonder how he can not succumb to her like many a classic noir character, but then as he says is only in for the money. 
     A big thanks to Toby for putting this blogathon together and celebrating one the greatest and undersung actresses in film history.