"Lucky" Walden is a power lineman-turned-criminal. He is due to go to the electric chair, which he helps prison electricians wire correctly, when his sentence is commuted for an act of ...
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Black Lightning is recruited as an undercover cop to infiltrate Ricky Rodriguez, also known as 'The Mexecutioner', and find out where a major drug deal is about to happen. Meanwhile, Twist ... See full summary »
While on a mission to rescue the kidnapped mayor of Metropolis, Jefferson Pierce aka (Black Lightning) faces his nemesis Tobias Whale and several high ranking members of the 100 gang making it his toughest battle yet.
James M. Black,
"Lucky" Walden is a power lineman-turned-criminal. He is due to go to the electric chair, which he helps prison electricians wire correctly, when his sentence is commuted for an act of heroism. But he finds the wrong side of the law more attractive, and returns to his nefarious ways. Written by
Jim Beaver <email@example.com>
The movies loved rogues in the old days. Whores with hearts of gold (though they couldn't call them that,--whores I mean), con men who were kind to widows and orphans, gangsters who were really robin hoods in fedoras and pin-striped suits. This was especially true in the economic hard times of the Depression. One saw fewer of such films after the war. Nowadays things are quite different, and the formula would seem ridiculously old-fashioned and corny. Maybe the rise of mass education had something to do with it. As people have become more middle class they are increasingly concerned about "respectability". In the days when most people worked with their hands or lived off the land the good bad guy thing was acceptable. But enough sociological musing. In this film the good bad guy is Bruce Cabot, who could play really bad guys quite well also, which gives his character added ambiguity. The setting is New York, the work is power lineman. Cabot is credible in both his good and bad aspects, which makes his nice guy attributes more effective than had his role been played by, say, Don Ameche. Director Eddie Cahn, a master of the short subject, directs this one for speed and beauty. It has plenty of both. The backlot cityscapes are something to see.
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