The B movie tends to get a bad press, attention is often drawn to the cheapness, caliber of stars or sometimes just out and out trashiness. Such criticisms can certainly be justified on many occasions but blanket dismissals are unwise generally and cinema has a habit of throwing out plenty of exceptions to muddy things. The thing is a B movie can work very well so long as certain elements are in place. The lack of funds can encourage economy not only in the nuts and bolts of production but also in the storytelling and pacing. And of course the presence of one or two good actors is able to overcome shortcomings elsewhere. Walk a Tightrope (1965) is very much a B picture, but its two stars and a reasonably intriguing plot help to elevate it considerably.
Carl Lutcher (Dan Duryea) is obviously a man down on his luck, living in a decrepit bedsit with a naive woman (Shirley Cameron) and slightly bemused as to why she should profess to love him. Later we learn that Lutcher is a dockworker by trade but when he heads off to complete a job it’s work of an entirely different nature he has in mind. Lurking opposite a movie theater, he watches Ellen Sheppard (Patricia Owens) bidding farewell to a couple of girlfriends and then follows her as she walks off towards a nearby pub. Ellen’s behaviour seems a little odd – she’s aware of someone tailing her, and then there’s the panic attack she succumbs to upon accidentally running into her new husband (Terence Cooper) and his business partner (Richard Leech). All of this leads to the two men insisting on escorting her home, although she clearly dislikes the idea. Shortly afterwards the doorbell rings and Lutcher forces his way in. To Ellen’s horror, he pulls a silenced pistol and calmly fires three rounds at her husband at point-blank range. Lutcher behaves as though it had all been arranged while Ellen is verging on hysteria due to the shock. So why would a man like Lutcher assassinate a man he’s never met and then ask the victim’s wife to pay him? Everything points to a contract killing but Ellen’s reaction doesn’t fit. Lutcher will have to be tracked down and a trial will need to take place before any indication of what’s really going on becomes apparent, and even then we’re still talking suspicion and surmise until a final twist reveals all.
Frank Nesbitt has few credits as a director, and only a few more as assistant director but he made two thrillers with Dan Duryea, Walk a Tightrope and Do You Know This Voice?, both written by actor Neil McCallum. I haven’t seen the latter but, despite Nesbitt’s rather anonymous direction, I’m quite keen to do so now. McCallum, who also pops up as the prosecutor in the trial sequence, produces a tricky little thriller here which ensures the story develops steadily and at a satisfying pace. Of the other crew members, cinematographer Basil Emmott should be familiar to anyone with a fondness for post-war British thrillers.
I said at the beginning of this piece that a couple of good actors can make a significant contribution to the success of even a modest production, and that’s precisely what happens with Walk a Tightrope. Both Dan Duryea and Patricia Owens were experienced Hollywood performers and it’s their work that adds interest to this thriller. Frankly, I like seeing Duryea taking a leading role in any movie, regardless of whether it’s heroic, villainous or something in between. I think what made him such a fascinating actor was his ability to put a genuinely human face to whatever part he played. His role in this film isn’t an attractive one, he’s a killer after all and nothing we learn about him suggest he has too many redeeming features. However, we do care about him, especially during the trial which dominates the last half, and his turn in the witness-box as he makes no attempt to deny his guilt but becomes increasingly frustrated and desperate to convince the court of the fact he wasn’t acting alone. Patricia Owens appeared in a number of films which I admire, The Law and Jake Wade and The Gun Runners among them, and I think she did excellent work here as well. Her part called for a good deal of subtlety and some fairly complex emotional shifts as the plot weaves its way towards the conclusion, the kind of performance which demands skillful playing in order to remain credible. I feel she nailed the enigmatic aspect of her character and her acting at the climax carries extra punch as a result. Absorbing as the story is, I don’t believe it would be anywhere near as effective were it not for Duryea and Owens.
UK company Network’s releases in their The British Film line continue to impress me, both the selection of titles and the quality of their transfers. Walk a Tightrope is presented in the 1.66:1 ratio and looks very nice. The image is crisp and clean and doesn’t display any particularly distracting damage. The sole extra feature is a gallery but it should be remembered these films are all very competitively priced and represent excellent value for money. This may well be a B movie but it’s also a solid example of a pared down and well paced crime thriller. OK, perhaps it’s not a classic of the genre but it never aspires to that anyway. I enjoyed the basic plot and the two lead performances give it a bit of class – definitely worth checking out.
Looking forward to an upgrade on this one. Thanks for the heads-up and a great article.
LikeLike
Network’s disc looks very nice, Gary, so the presentation should satisfy.
LikeLike
Well said, Colin. I’ve never seen it but I’m receptive for anything Dan Duryea is in and WALK A TIGHTROPE reads more than a typical “B”. This past spring at the Film Noir Festival in Palm Springs one of the featured films was CHICAGO CALLING in which Dan Duryea played the lead. CHICAGO CALLING is sort of a “B+” drama. It was well received and like you suggest Duryea’s performance and a good script leaves its imprint on your mind long after the theater is dark. Being overly partial to noir type movies and westerns you could easily write a book on the many fine contributions he made to both genres. His portrayal of “Waco” Johnny Dean in WINCHESTER 73 was a classic all-time nasty.
LikeLike
I haven’t seen Chicago Calling yet although I’ve heard good things about it and Duryea’s work in the movie.
LikeLike
Fascinating chum – you don’t say this but I am assuming that this was shot in the UK, yes?
LikeLike
Definitely shot in the UK – I don’t recognize the specific locations used but they’re UK for sure.
LikeLike
Another one I had never heard of. This must have been his last leading role in a movie, right?
LikeLike
Almost – he still had a few westerns (Incident at Phantom Hill, The Bounty Killer) ahead of him, alongside other bits and pieces.
This film was new for me as well, as has been the case with a lot of these recent Network releases.
LikeLike
Yes, I’ve got about 2 dozen films like that if you include the Ealing compilations they put out (I’ve got about half of those I think).
LikeLike
One of the most attractive aspects for me is the low prices, which means I’m much more likely to take a chance on material I haven’t seen.
LikeLike
Eventually we’ll be doing this all online – if prices stay sensible, as in this case, it will hopefully be even easier to get material as well as access to content from all over the globe – I say this as someone who only really accesses physical media, but it’s going to change by 2020 and taking a punt on something uknown and (gasp) ‘forreign’ could be amazing, especially if automated subtitling improves 🙂 That’s me looking on the bright side …
LikeLike
Yes, that seems to be the direction things are going in, even if it’s not something which thrills me in theory, it may work out very well in practice.
LikeLike
Best we can hope for chum …
LikeLiked by 1 person
Mind you, I have so much stuff accumulated it’s not such an issue what the future may or may not hold.
LikeLiked by 1 person
Nice spotlight on a latter Duryea film. I’ll have to snag a copy for the library.
LikeLiked by 1 person
Worth checking out, Mike. And these Network titles can usually be picked up for a good price from time to time.
LikeLike
Oooh… I have not seen this one and I love anything with Duryea in it. He could do anything. Thanks for the heads up.
LikeLike
You’re welcome! I guess this film is relatively obscure and it’s nice to be able to bring it to the attention of others.
LikeLike
Catching up with this review belatedly… I really like Dan Duryea and agree the Network ‘British Film’ series of releases has been excellent. Will aim to get hold of this one soon.
LikeLike
The Network releases are great value for money, and I like the space saving slim cases too, and I’ve picked up quite a few now – still more I want but I’ll wait till the next sale comes around.
LikeLike
Colin
Somehow this one seems to have slipped right by me. Thanks for bringing it to my attention. Nice write-up as well.
LikeLike
I think, in all fairness, that we’re looking at a pretty obscure movie here so I’m not surprised it passed you by. I picked it up when it appeared on DVD on the strength of Duryea’s presence, and I liked it quite a bit.
LikeLike
Pingback: Catacombs | Riding the High Country
One of those films where the final twist should have been obvious, but which caught me by surprise. Duryea’s fantastic in the court scene. Personally, I found the film a little slow for this type of movie, but that helped in the end – I’d forgotten the clues by the time the real plot was revealed.
Did you ever get to see ‘Do You Know This Number’? It’s less reliant on twists, but an interesting set-up, and another great Duryea performance.
LikeLike
Personally, I’m poor at picking up on twists and reverses, so I can’t comment on how this was presented beyond saying it worked for me.
I’ve had a copy of Do You Know this Number? for a while now but it keeps getting shunted back down into the pile – I will get to it eventually though.
LikeLike
Oops, I meant “Do You Know This Voice?”!
LikeLike
Arrgh! Not only did I fail to spot that, but I then proceeded to repeat it! Ah well, we both knew what we were supposed to be referring to at least. 😀
LikeLike