Most film noirs are cast in darkness and shadows. But one of the intriguing distinctions of this 67-minute minor MGM gem is that its primary action takes place outdoors in the brightest sunshine imaginable. Other than a nighttime scene in Tijuana that is nothing more than a setup to the story that follows, there is nothing dark about this movie at all … except, of course, the moral questions director John Sturges presents.
An All-American Fifties family, the Stilwins – dad Barry Sullivan, mom Barbara Stanwyck and young lad Lee Aaker (known to all kids of the era as Rusty in the Rin Tin Tin series) – embark on a vacation into wholly desolate Baja California and a remote, deserted fishing spot along the coast Dad used to frequent with his old military buddies. At a roadside barricade heading into the serious Baja outback, they are inspected by police but aren’t told about a deranged killer who has escaped from prison and is at large in the area. Dad Stilwin announces to the family in a bit of classic American 50’s cinematic stereotyping that they’re probably looking for "a goat or a cow or something. Mexicans have a way of taking things big."
Hey, at least he gets paid back for that racist crack. Upon arrival at the secret fishing spot, young Bobby goes exploring out onto a rotting pier. He can’t work his way back, and when Dad attempts to come to his son’s rescue, the pier gives way. Dad isn’t hurt, but a piling falls on his leg and traps him on the beach just as the tide is coming in. The Stilwins quickly determine that if Pop isn’t freed within a few hours, he will drown in the rising surf.
Then the movie kicks in – Mother Stanwyck, half-hysterical with fright, must work against the clock on her own in the Baja wilderness to go get help. Naturally, she knows no Spanish so when she encounters some passive villagers, she can’t convince them what she needs. She returns to a roadside gas-and-water stop – no 7-11s here, folks -- the family had encountered on the way, finds no one and breaks into the garage, looking for a rope and other materials. Looking out through the window she broke to get in – a great, eerie, noirish shot by Sturges, by the way -- she spots a man standing near her car. And my god, he’s an American!
It turns out to be the escaped con played by Ralph Meeker, but not the sullen Mike Hammer Meeker of noir lore. This is a goofy, grinning, self-absorbed maniac who, with help from Barb, drives the film to a pulsating finish. He immediately jumps behind the wheel and promises to help, but gives himself away immediately by consuming some crackers in the front seat and asking if there’s anything else to eat. He pops open the glove compartment and admires a pistol Hubby has brought across the border. When Barb starts telling her tale of desperation, he announces, "Stop, lady! You’ll have me cryin’. I’m a very sens-i-tive man." She slaps him, and he slaps her back three times.
Great stuff. In short, in about 30 seconds, Meeker completely takes over the movie and takes us on a wild ride for the next 30 minutes. Pretty neat, huh? That’s Meeker’s stock line whenever he does something he thinks is clever, like turning a rock into a makeshift jack or running some Mexican police off the road. Ultimately, he decides Barb is a pretty hot dish (he picks her up at one point when she tries to run off and pronounces, "You’re just the right weight!") about the same time she decides the only way she’s going to get this lunatic to help is to submit sexually and promise to go away with him … after they go rescue hubby and get his clothes and ID. She tells him she’ll do anything to save her husband … ANYTHING. Wink, wink, hint, hint. Even the dullard character Meeker plays gets it.
Hiding out in an abandoned house, Stanwyck makes what was probably her last real play as a movie sexpot. She pulls a cig out of Meeker’s hunk-shirt, leans seductively against the getaway car, blows some smoke into the air and it’s on. Aroused Ralph makes a great crack about cheap perfume and pounces on her as the camera cuts away … it must have been satisfying, though, because the next thing you know Meeker and Stanwyck are speeding up to the beach, where the final scene is played out. I won’t tell much more except to point out the rather unusual ending – Meeker is actually allowed to escape with Barb’s semi-reluctant blessing, a fascinating finish to what starts out as a mundane programmer. Not too many psychopath killers get away in Dark City, or in this case, Dark Wilderness, so that’s another piece of intrigue to this one.
The escape comes with our blessing, too, as it turns out, because Meeker is simply too impishly delightful and ultimately just heroic enough not to be killed off. I
picked this film primarily for Ralph’s performance in this role, sadly his only other true noteworthy noir performance other than the classic Kiss Me Deadly (although I must admit, I haven’t seen the B flicks Big House USA or Code Two). What a loss. Meeker clearly was a wonderful actor – he picked up where Brando left off on Broadway in Streetcar Named Desire. When Picnic opened as a stage play, he was the original lead in the role William Holden landed in the movie version. He turned in excellent performances in Naked Spur, Path of Glory, Run of the Arrow and the quirky cult flick Something Wild.
And of course, the eternal Kiss Me Deadly. Why Meeker never became a big-time star is a mystery. He had the looks, the acting chops, the charisma. He had a nice, long career in film, stage and TV but most people, even some self-anointed film buffs, couldn’t tell you who he was today. Check out the online Meeker Museum for more cool info on him: http://www.meekermuseum.com/rmeeker.html
"Jeopardy" itself is hardly a classic but has more going for it than it seems upon first watch. It plays like a B but has front-rank people both in front of and behind the camera. Dimitri Tiomkin, for one, provides an ace score. The location scenes in Baja are stark and genuinely creepy at times, even in the rear-projection shots. This is a place you would not want to break down … ever. Stanwyck is solid in what would be a string of noirs during this period of her career (Thelma Jordon, Clash by Night, Crime of Passion and No Man of Her Own). She was 46 when this movie was made, but like Joan Crawford, still could crank up her seductive juices when necessary and convince you she could still do ANYTHING to save her husband.
Sullivan is along for the ride here. His scenes with the son while Barb is out on the hunt for help provide some good camp, if nothing else. At one point the boy asks, "Can I get you your cigarettes, Dad?" and when he runs off, Sullivan yells, "And bring my lighter, too!" The kid also tries to make a pot of Dad’s favorite coffee while he’s get lambasted by the surf. Hilarious.
But this is Meeker’s show with strong support from Stanwyck. It’s not available on video but shows up regularly on TCM. If you’ve never seen it, don’t miss it next time. And those who have had the pleasure, you must confess: Pretty neat, huh? And no, in this "Jeopardy," Alex Trebek never turns up once along the barren roadside.
Carl
Written by Carl
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