Dick Powell is in fine sardonic form as Rocky, a guy released from prison after serving five years for a bank heist he didn’t commit, thanks to a witness who verifies his alibi, and goes in search of the real criminal to spring his buddy, who is still serving time. Richard Erdman is the witness Delong, a Navy vet just off his last tour of duty, and he hitches himself to Rocky to see if he’ll find the loot. Rhonda Fleming is the buddy’s wife, but before that she was Rocky’s girl. Her affections are rekindled but there is more rapport between the low-key, unflappable Powell and Erdman, whose injured vet is a drunk and makes no bones about it. Erdman is even funnier and drier than Powell and has an inspired courtship with a blonde pickpocket in the trailer park, a young cutie who keeps robbing him as if theft was a form of flirtation.
Robert Parrish made his directorial debut with this film and it is terrific: efficient, tight, well-paced and full of attitude and dry humor. He shoots most of it on location in Los Angeles and the key location, a dumpy little trailer park on a hill that looks down upon the city, gives the film a great sense of character and location: they can see the dream below them as they mark time in their cramped trailers. There’s a dark heart under the snappy surface like the best low-budget noirs. William Conrad co-stars as the signature heavy, a gang leader by the name of Louis Castro that Rocky believes is the real mastermind behind the heist, and Regis Toomey is the tough cop with a wary respect for Rocky.
Olive doesn’t go in for supplements—they offer well-mastered discs at low prices—but this is one disc I’d love to see get the special edition treatment. Co-star Richard Erdman is still alive and well and sharp as a tack (he’s the world’s oldest college student in the TV sitcom Community) and Film Noir Foundation founder Eddie Muller has provided a lot of commentary tracks and interviews for other film noir releases on disc. A little background on the film and its production would have been very nice, but when it comes down to it, it is all about the film and the quality of presentation and this is top notch given the rescue job performed by UCLA.Used Cars (Twilight Time, Blu-ray) – Robert Zemeckis made some of the most famous blasts of American pop culture cinema—Back to the Future and Forrest Gump among them—but none has his films root about the cynical underside of the American dream with the gleeful anarchic pleasure of this satirical cult classic from 1980. Kurt Russell is the epitome of the smiling mercenary selling lemons to suckers with dirty tricks and phony promises, aided ably by his superstitious buddy Gerrit Graham. The outrageous stunts (such as illegally jamming the Superbowl with a guerrilla commercial and hiring strippers to bump and grind on the cars like a Vegas sideshow) are more than simply high concept gags: Zemeckis and Bob Gale squeeze the limits of bad taste out of these lemons for a deliciously tart cinematic lemonade. The R rating is for foul mouthed tirades and nudity that would be at home in a risqué burlesque farce. Jack Warden has a field day playing twin brothers and Frank McRae is hilarious as the giant adrenaline-pumped mechanic. The crotch-grabbing Mexican junk car wholesaler is none other than Alfonso Arau, the ubiquitous character actor and director of Like Water for Chocolate.
The Blu-ray debut includes the commentary recorded for the earlier DVD release and the talk from director Zemeckis, co-writer and producer Bob Gale, and star Kurt Russell is almost as much fun as the film itself. “We wanted Jimmy Stewart in It’s a Wonderful Life, except he’s totally corrupt,” is how Zemeckis explains the genesis of the story. Kurt Russell laughs back: “So you cast me!” These guys are having a blast laughing their way through their remembrances, but they manage to stay on track and keep the production stories coming. Also features four minutes of outtakes and along with Twilight Time’s trademark isolated musical score is a bonus score track with the unused score. Also includes an eight-page booklet with an essay by Julie Kirgo. Limited to 3000 copies, available exclusively from Screen Archives and TCM.