Vice Squad (1953) User Reviews

The Cop And The Madam

[bkoganbing · 7/10 · 27 March 2007]

Vice Squad takes a documentary style approach to a single day in a police captain's life and what he might encounter.

Of course the murder of a police officer doesn't ever qualify as an ordinary day, but even on those days when an entire force is mobilized looking for a cop killer, still more mundane matters intervene.

Edward G. Robinson was in his B film period which is roughly between All My Sons and The Ten Commandments. Still Robinson always brought a certain class to the films he was doing and Vice Squad is no exception.

Second billed in the cast is Paulette Goddard who is a madam at a bordello. She was on a blacklist of sorts herself at the time, not for politics, but because she had antagonized the powerful Cecil B. DeMille during the shooting of The Unconquered. Her career was winding down, but she would be marrying Erich Maria Remarque and be leaving the screen shortly for Switzerland.

Goddard and Robinson have a nice bond between them. It's obvious he lets her operate because she can be most valuable as a snitch in a pinch. In fact she does come through with some information that starts the case being cracked.

Funny though, ten years earlier Robinson and Goddard as co-stars would have commanded an A list budget, even five years earlier. Hollywood could be very fickle at times.

Still for a B police drama, Vice Squad has an impressive cast list of quality players. Best in the film is Porter Hall, a two timing funeral director who Robinson knows saw something, but won't crack because he was spending a night with his girlfriend instead of being out of town as he told his wife. How they manage to keep him 'in the system' so to speak is really quite ingenious much to the exasperation of his lawyer, Barry Kelley who runs a close second to Hall.

Mixed in with the hunt for a cop killer are more routine matters like exposing a phony Italian count, dealing with Percy Helton's imaginary crimes and a TV interview for publicity's sake. All in the life of a Vice Squad captain.

Fans of Edward G. Robinson and Paulette Goddard will like what they see and Vice Squad is a nice tightly scripted and edited police drama.

Edw. G. Robinson in low-budget but tightly knit tale...

[Doylenf · 6/10 · 27 March 2007]

EDWARD G. ROBINSON viewed this period in the early '50s as his B-film era, but VICE SQUAD is an efficient, if low-budget product that gives him a chance to show his stuff in a story about the day to day activities of a police precinct in '50s L.A. PAULETTE GODDARD gets top female billing in what is essentially a cameo role as her career was obviously in decline at this point. She's sassy and brittle as the head of an escort club who agrees to cooperate with Robinson's police investigation.

Robinson is seen adroitly handling a number of sticky situations, including the death of a policeman and the reluctance of a witness to talk; the discovery that a bank heist is about to take place; and the effect of the cop killing on a gang of car thieves. It's interesting to catch an early glimpse of LEE VAN CLEEF as one of the car thieves.

There's a film noir look to Joseph Biroc's first rate B&W photography with excellent use of light and shadows and it's directed in brisk style by Arnold Laven. All of the intertwined stories are smoothly coordinated but the tension doesn't start building until about forty-five minutes into the bank heist sequence.

Actually the police tactics shown are pretty underhanded, so it's not exactly a flattering portrait of police procedures--but they do seem credible.

Packs just as much suspense as another crime melodrama with a New York locale--THE NAKED CITY. The shots of L.A. in the early '50s establish atmosphere from the start. Well worth viewing.

Call girls in old fifties

[ctosangel-2 · 6/10 · 29 September 2001]

Veteran TV series director and producer (The Rifleman, Law of the Plainsman, Gunsmoke...) Arnold Laven give to the USA fifties cinema story the first movie showing clearly a call girls house activity and that is why this picture will remain in the spectator mind. The madam is a mature Paulette Goddard at may be one of his best roles on the screen. Edward G. Robinson plays with his usual professionalism police officer Captain Barnaby. Good supporting actors, including Italian born Lee Van Cleef much before meet Sergio Leone and his famous spaghetti-western series.

movie kept my interest throughout.

[basketballpete · 16 May 2002]

Excellent cast. Paulette Goddard, basic minor role but still has the oomph. E.G. Robinson never ceases to amaze me, he is always the main force in all the movies he is in, I never tire of seeing him on film. The film did a very good job of developing the day to day business of a major city police station without making the police to appear as super human beings.

Promising police procedural soon grows lukewarm

[bmacv · 6/10 · 23 July 2003]

Vice Squad starts off like a sip of espresso: dark, strong, with a scorched aftertaste. But soon it grows lukewarm. It had the makings of a solid ‘50s crime drama but dilutes them with quirky human-interest vignettes that bear no relation to the central story. Less film noir than a dutiful police procedural, it looks like an attempt to reprise the more intense Detective Story of two years earlier.

Still, it's not a bad movie, if humdrum, centering on the killing of a cop by two members (Ed Binns, Lee Van Cleef) of a gang planning a bank job. All the plot strands lead to Chief of Detectives Edward G. Robinson (did anyone ever enunciate English more precisely?). Among them are witness Porter Hall, reluctant to get involved because he was seeing his mistress (Joan Vohs); his big-shot, big-mouthed attorney, Barry Kelley; ritzy madam Paulette Goddard, deputized to pick up information from clients she and her girls `escort;' reluctant stoolie Jay Adler; and gang member Adam Williams, who's losing the nerve to go through with the heist. Populating the more remote subplots are Percy Helton, who thinks he's pursued by `television shadows' and a phony Italian `Count' pulled in for marriage bunco. The bank job comes off, but not quite as planned, as plainclothes police are planted on the scene. But Binns and Van Cleef manage to nab a hostage....

The busy plot advances clearly enough (despite some lapses in continuity: The mistress' name is `Vicki' in an address book but `Vickie' on her mailbox). The most arresting part of Vice Squad are the scams, subterfuges and outright blackmail the police use to pressure witnesses to talk. They're presented not as expedient short-cuts to find a policeman's murderers but as routine – business as usual. In that regard it reflects the super-patriotic climate of America during the Red-Scare years, though there's not a Communist in the movie, let alone any suggestion that officers of the law may be overstepping their bounds.

A "good cop/bad cop" counterpoint to THE BIG HEAT

[melvelvit-1 · 7/10 · 7 September 2015]

Arnold Laven's VICE SQUAD is a 1953 "police procedural" B that follows LA police chief Edward G. Robinson around for a day and he sees it all: a patrolman shot, a marriage bunco, pickpockets, an "escort service", a bank heist, police snitches, and other flotsam and jetsam with some harmless insanity and adultery thrown in for good measure. It's all in a day's work for the chief, a no-nonsense man with a kind side (reminiscent of Robinson's "Asa Keyes" only less verbose) who gives everything from misdemeanors to murder raps the attention they merit and even manages to squeeze in an appearance on a TV talk show (cut short, of course, when he finds out the cop died). He's got time for everyone and always gets his man but the methods the police use would cause rioting in the streets today. Oh well, the ends justify the means and it's all for a good cause at the end of this day.

Actors like Eddie G., Barbara Stanwyck, and a host of others always did their professional best in these kinds of '50s B's which makes them a pleasure to watch even if the movies themselves aren't so hot. This one's not bad with the LA locations and unsung character actors (milquetoast Porter Hall, sinister Lee Van Cleef, sweaty Adam Williams, and an uncredited Percy Helton) all helping to raise it a notch above the routine. The billed-above-the-title co-star Paulette Goddard didn't hurt, either, and makes the most of her brief scenes. She's a sassy "escort operator" in sunglasses and mink that was probably based on "Hollywood Madam" Brenda Allen, in the news at the time for testifying before a Senate subcommittee hearing on police corruption in LA. Those hearings became the basis for William McGiver's THE BIG HEAT, which was made the same year and, in fact, VICE SQUAD seems like a "good cop/bad cop" counterpoint to Fritz Lang's brutal noir.

Nothing extraordinary, but everything falls together very well

[planktonrules · 7/10 · 3 May 2007]

While this isn't a great Edward G. Robinson film, it is a very good one and a rather realistic view of police work--complete with a 1950s-style ignorance of the Bill of Rights! Like the movie DRAGNET, police harassment and ignoring of some basic rights are okay provided it results in a conviction! But, unlike DRAGNET, this film isn't nearly as dark in tone nor are there any of the wonderful Jack Webb comments, such as "the first shot tore him in half,...the second one made him a crowd". Instead, Robinson plays a police captain that is quieter and less "Noir" but nonetheless still pretty sneaky in order to catch a cop killer and foil a bank robbery. Because the film tends to be more realistic than many cop dramas and avoids the trademark camera-work and snappy dialog of Noir, it is more a police film than an example of Film Noir. Still, it's awfully good and watchable--with good writing and pacing. Not great, but you could do a lot worse!

L.A version of "The Naked City"

[sol1218 · 7/10 · 5 June 2010]

(Some Spoilers) On location in L.A crime drama involving a gang of hoods planing a bank robbery that's to put them on easy street for the rest of their lives.

Right from the start the two head men of the bank robbery team Al Barkis, Edward Binn, and Pete Monty, Lee Van Cleef, make the big mistake of gunning down a cop-Officer Kellogg-who caught them in the process of hot wiring a car just hours the robbery was to take place. Wih Officer Kellogg later dying from his wounds you would expect both Barkis & Monty to cancel their plans in them facing a trip to the San Quentin gas chambers if caught! Instead they plan to go on with the bank robbery but keep their fellow bank robbers in the dark in their responsibly in Offcer Kellogg's murder!

Unknown to both Barkis & Monty there was indeed an eye witness to the Kellogg killing the meek and secretive, in him having an affair behind his battle ax wife's back, undertaker Jack Hartkampf, Porter Hall. At the time of the Kellogg shooting Hartkampf was spending the evening at his girlfriend Vicki Webb, Joan Vosh, apartment. It was Hartkampf that LAPD Captain Barnie "Bulldog" Barnaby, Edward G. Robinson, keyed in on in breaking the case in the Kellogg killing in getting him to identify his killers. What Capt. Barnaby didn't at the time realize is that the Kellogg shooting was just to tip of the iceberg to what was to happen later in the film.

Somewhat over-plotted with a lot of side stories that made the main plot, the cop killing and bank robbery, of the film a bit hard to follow but the top rate acting, especially by Eddie Robinson, and on location filming made "Vice Squad" more then worth watching. There's also Paulette Goddard as the second billed model escort agency owner Mona Ross who also happens to be an old flame of Capt. Barnaby. Goddard was on the screen for such a short period of time that you wondered why she was credited at all! With most of the cast members, not being credited, having more screen time then she did.

There's' also the movie title "Vice Squad" which had nothing really to do with the film since vice was almost nonexistence, with Capt. Barnaby being in the homicide division of the LAPD, in the entire movie. The only vice I could spot in the film was that of the greasy looking gigolo Count Al Fredo Glovannie Mortova, John Verros, who was actually a con man from Cleveland. It's the "Count" who tried to marry, for her money, widow Mrs Lawson under false, in him being a European blue-blood, pretense's.

***SPOILERS*** With Capt. Barnaby getting the jump on Barkis' plan to rob the bank from chickened out, in him scared of being charged with Kellogg's murder, bank robber Marty Kusalich, Adam Williams, the stage was set for a police ambush at the bank robbery site. The plan worked to perfecting with only one slight hitch; Bank teller Miss Easton, Christie White, ending up being kidnapped by Barkis & Monty the only survivors of the blotched bank robbery team. That set things up for Capt. Barnaby and his men to track down the two escaped bank robbers who were only caught with the help of their escaped kidnapped victim the almost legally blind, after accidentally breaking her glasses, Miss Easton.

Plays It So Cool

[HillieBoliday · 10/10 · 27 March 2007]

I totally enjoyed this movie! I especially liked that EGR played his character cool, calm and collected. You don't see him yelling at his men and gesticulating all over the place! He portrayed his character as an adept psychologist, an independent thinker, who exhibits grace under fire. He uses compassion and sensitivity in a reassuring way. He sees all of the pieces to a puzzle and knows exactly where to place them in order to make a full picture.

The locations, cars and clothes just blew me away. I grew up in Los Angeles during the early 50's, and I remember riding in a 1949 Ford and 1953 Buick that my father owned.

The way the men looked in their full dress suits and sky highs (slang term for hats); and the women in their quiet elegance (never without gloves); is one of the reasons I love movies from the 40's and 50's.

Even to this day, if I pass through an old part of Los Angeles that is somewhat still intact (which is rare) from that time; it brings back old sweet memories, and I want to stay in that time warp and never come out. If you like EGR, cars, great locations, clothes, coolness and justice....Then you need to see this movie. All I need is for this movie to be released on DVD.

A Day in thr Life....

[bsmith5552 · 7/10 · 21 May 2017]

"Vice Squad" is a nice little docudrama about a day in the life of Vice Squad Captain Barney Barnaby (Edward G. Robinson).

The film opens with Al Barkis (Edward Binns) and Pete Monk (Lee Van Cleef) hot wiring a car for an unknown purpose. A beat cop comes upon them and tries to stop them but is shot. Unbeknownst to the killers, a meek little man Jack Hartrampf (Porter Hall) witnesses the crime. As the squad cars arrive Hartrampf is arrested and is taken to HQ.

Capt. Barnaby arrives the next morning and begins his investigation by grilling the beleaguered Hartramph. Barnaby learns that Hartramph had been "carrying on" with an unknown lady behind the scenes. His lawyer, Dwight Foreman (Barry Kelley) assures him that he will get off for lack of evidence and that Hartrampf's wife needn't know of his discretion.

Barnaby suspects that Hartrampf knows more than he is telling. Aware that the man is innocent of the crime, he nevertheless conspires to keep him in custody until he can unravel the mystery surrounding the shooting. A snitch, Frankie Pierce (Jay Adler) tells Barnaby that he has heard of an impending bank robbery about to take place.

We are next shown the gang's preparations for the heist. The Barkis gang, which also includes a reluctant Marty Kosalitch (Adam Williams) finalize their plans. Meanwhile, Barnaby continues with his investigation and learns that Vicki Webb (John Vohs) is the lady with whom Hartrampf has been keeping company.

The bank robbery is foiled by the police but Kosalich backs out just before the robbery attempt. In their escape the gang takes sweet young Carol Lawson (Mary Ellen Kay) hostage.

Barnaby enlists the aid of Mona Ross (Paulette Goddard) an "escort service" Madam to help him track down the whereabouts of the gang. Barnaby tricks Hartrampf into identifying Kosalitch as the killer, forcing him to reveal the hiding place of the gang. Fearing for the safety of the hostage, Barnaby closes in on the gang and.........................

Robinson as always, is better than his material. Although this was not an "A" feature, Robinson's performance along with those of Porter Hall, Barry Kelley, Edward Binns et al raise the quality of the film. Paulette Goddard, once a stunning beauty was now showing her age and would soon retire from films. Her role here is minimal.

An excellent little film.

Boring police programmer

[fwdixon · 3/10 · 26 June 2010]

"Vice Squad" starts out just fine with a promise of noir-ish crime action but quickly descends into just another so-so cop procedural melodrama. Edward G. Robinson does his best with the poor script but his character is completely unlikeable. Paulette Goddard appears as the proprietor of an "escort service", which is a 50's euphemism for a bordello and turns in a credible performance. You'll have some fun spotting the various 40's/50's character actors that make up the rest of the cast. My biggest problem with this film is the incredibly high-handed antics of the police, who apparently never heard of the US Constitution. They consistently violate just about every article in the Bill of Rights in their pursuit of a cop killer. Poor old eyewitness Porter Hall is harassed and framed on the orders of Eddie G. When the cop killer (Ed Binns) is finally cornered, the cops save the taxpayers the cost of a trial by the simple expedient of filling him full of lead. View at your own risk!

Compare this one to John Ford's "Gideon's Day"

[theowinthrop · 9/10 · 26 February 2005]

This is one of those excellent programmers that studios used to churn out as fillers (second or third features) when a day at the movies was really a day at the movies. Not 90 minutes to two and a half hours, but five hours, followed by a late dinner with your girl friend, boy friend, spouse, or kids. Robinson knocked this film (and several other excellent ones) he did in the early 1950s because his days of movie stardom seemed over (due to blacklisting, as well as a messy divorce). It was a bitter time, and his memories were colored by that bitterness. Yet in this period he did films with Paulette Goddard, Ginger Rogers, Alan Ladd, John Forsythe, and Barbara Stanwyck (the last a western). He even did a second film with his old film co-star (and nemesis) George Raft. Not bad for a barren period. Considering the number of films he did appear in, and comparing his situation to that of ... John Garfield, Robinson did not do too badly.

This film was made shortly after "Detective Story" with Kirk Douglas, William Bendix, and George Macready. While that was a good film too, it was based on a successful stage play. This is based on a script from Hollywood originally. But it is one of those "day in the work life of a police officer". Robinson is shown trying to find the two goons (Edward Binns and Lee Van Cleef) who killed one of his men in a robbery. He is also handling problems with a fake-Italian fortune hunter, a scared little man (Percy Helton), and even a television news spot he has to give. He handles everything with considerable professionalism and aplomb.

"Detective Story" may have initiated this period of films like this, but in actuality "Detective Story" centered on the emotional problems of "good" cop Kirk Douglas, and how he resolves them by sacrificing himself to catch an armed criminal (Joseph Wiseman). A better film to compare it with is "Gideon's Day", an odd film made a few years later by John Ford. Unlike most of Ford's films it was shot in England, and starred Jack Hawkins. The "Gideon" novels were popular detective stories at the time, and "Gideon's Day" dealt with Chief Inspector Gideon tracking down the thieves who fatally injured a policeman who tried to stop them. Ford's film dealt with other incidents in the officer's day, including meeting a new constable who is something of a stumble-bum, who ends up being re-introduced to him as his daughter's new boy friend. Although minor John Ford, it has some good moments (such as Hawkins talking to the dying police officer in the hospital, which is shown from the point of view of the officer going in and out of consciousness). Except that it takes place in London, not L.A., it is a match for "Vice Squad".

But somehow "Vice Squad" works better. Except for the comedy about Gideon's daughter and her new boy-friend, most of "Gideon's Day" is definitely set in England, and yet Ford can't get his Irish-Americanism totally out of himself. At one point an angry Gideon has to restrain himself from taking a poke at an arrested perpetrator. That would not have been normal in England, where that type of reaction is usually not met with. It would have happened in the 1950s (or even the 2000s) in any American city, but that seems to be expected.

"Vice Squad" has some good performances holding it up. Binns and Van Cleef do their normally professional jobs as the killers. Percy Helton plays a timid rabbit of a man, who has seen Robinson before (the scene humanizes both men, for Robinson knows Helton's fears are based on psychological problems and has been trying to get him to see a doctor). Porter Hall plays possibly the funniest schlemiel type he ever had the luck to play, as a man who was out on a private toot but is paying for it again and again because he was at the scene of the crime, so he is possibly a witness. Ironically Hall never saw anything, but Robinson still manages to use him effectively against somebody who can unlock the mystery. Even Hall finally realizes that it's to his advantage not to deny anything, but to play along with Robinson's hunch. The two did well together in "Double Indemnity", and it pleasant to see they still well together here. Paulette Goddard's performance is smaller than one would have wanted, but she makes the most of the role of the head of the "escort" services. If the rule twisting here seems out of date, please remember this is from 1953. The Warren Court had not started changing the open door policy for police investigations yet.

How the LAPD got it's reputation...

[Gavno · 6/10 · 2 September 2011]

...as a police force with no discernible ethical standards or scruples.

There's NOTHING the cops here won't do; burglary (to search the records of a mortuary business without obtaining a warrant), false arrest (for jailing the undertaker multiple times to pressure him into telling what he knows), blackmail (for hinting that the undertaker's wife will find out he has a lover), downright police corruption (releasing busted call girls in exchange for information), not to mention knowingly consorting with a known prostitute and operator of a call girl service (the call girl's madam) and not tossing her in the jug! On Robinson's suggestions and orders, policemen commit acts that should be rewarded with 5 years in San Quentin. They should have called this film "Cops Gone Wild"! If this is the LAPD Vice Squad, I'd hate to see what sort of schtick goes on down in Homicide.

On the other hand, it's a fun romp through the world of 1950s film noire, with Robinson playing the cool, laid back leader of the Vice Squad. I don't think Eddie EVER put in a bad performance.

Lee Van Cleef puts in an appearance at his beady eyed, sinister best. He was a natural born villain even this early in his career.

The script is a lot of fun... but it's enough to make Rodney King flinch.

Welcome to the corrupt Police State.

Empty

[AAdaSC · 4/10 · 12 July 2009]

The film follows a day in the life of policeman Captain Barnaby (Edward G Robinson). The main story deals with the shooting of a policeman and a bank robbery that are linked in that the same people are involved in both incidents, ie, Al (Edward Binns) and Pete (Lee Van Cleef). Jack (Porter Hall) witnesses the shooting and is continuously released and re-arrested throughout the film in order to make him talk. He doesn't want to say anything as it may mean that his wife will find out that he was visiting another woman.

The title is a bit misleading as it suggests that there are brothels and prostitutes involved in the bulk of the film. In fact, Mona (Paulette Goddard) as the owner of a call girl service has a relatively small part to play in the story. I don't know why the film is called "Vice Squad". It has a few other story lines running simultaneously but the whole effect is rather weak and a bit haphazard as we keep breaking from one story to follow another - Jack of all stories but master of none. The film feels a bit empty while you are watching it.

You Can't Beat Edward G.!

[Bucs1960 · 17 May 2002]

This is not one of Edward G's best films. In fact it may be his worst but it is still watchable. It's pretty much a run of the mill 50's crime story which centers around the activities in one day of a detective's life. Good black and white photography with excellent location shots.....not much use of studio sets. This adds to the realism and if you like old cars, the street scenes are for you! Edward G. is, as usual, top notch and for once gets to be a good guy. An aging Paulette Goddard, whose star was really on the wane, is adequate as the madame of an "escort service"....a thinly disguised brothel....her wordplay with Edward G. is sharp and ever so sexy. The supporting cast is familiar to all......and Lee VanCleef pops up as a killer (what else?) in one of his early films before he became an icon in Italian westerns. This is an enjoyable, throw-away film that is worth catching on some late night weekend. Anything with Edward G. is always one to watch.

The girl in room 17

[jotix100 · 7/10 · 3 August 2012]

An unsuspecting man, Jack Hartrampf, the owner of a funeral parlor, is seen coming out of a tryst with a young woman. Little prepares him for watching from the shadows as two criminals kill a policeman who discovered the pair were up to no good. Jack is of two minds, on the one hand it is his civil duty to report what he saw, on the other, he is a married man who cannot be involved in a scandal. He is taken as a witness, anyhow.

At the police station the day is starting for Capt. Barnaby, a hard working man facing another tough day at the center of all sorts of police matters needing his attention. The death of one of his men hurts Barmaby as well as enrages him. He knows Jack Hartrampf saw exactly what happened, but he cannot make the man go out of his way to help. With the help of his highly paid lawyer, Hartrampf is released, but Barnaby has a way to get him back as a material witness.

Capt. Barnaby hears from a man being held at the station about a possible robbery at a bank. The criminal has heard on the street this piece of information, which he uses to get out of detention. Barnaby's life is further complicated when Mona Ross, the owner of a "escort service" knows one of the potential bank robbers, one Al Barkis. He uses his leverage in keeping two of her girls to get the woman to cooperate.

"Vice Squad" the MGM release was one of the better B type films of the era, something that was the case of releases that were produces as fillers as double features. Arnold Laven directed this crime drama set in the Los Angeles of the time. The screenplay is by Lawrence Roman, an adaptation of the novel "Harness Bull" written by Leslie White.

At the time the great Edward G. Robinson was perhaps not the bright star of his early career, but he kept making movies which he made better by his intelligent approach that was his hallmark. He was also a marked man in the era of the Hollywood 'witch hunt'. Mr. Robinson is a pleasure to watch in "Vice Squad". Here he plays a good man, a far cry for this start in the cinema. He carries the film on the strength of his performance. There are things that will appear as politically incorrect in the way Barnaby torments the poor milquetoast of Hartrampf, something that was not an issue at the time when the film was made. His methods might not have gone according to the book, but he got the results expected of his rank.

Paulette Goddard has the second billing as Mona Ross. Her role is a small one, but she is a welcome presence in the story. The supporting players enhance the picture, especially Porter Hall as Hartrampf. Edward Binns and Lee Van Cleef are the criminals at the heart of the plot; both men give good performances.

Joseph Biroc, a veteran cinematographer gives us a glimpse of different parts of Los Angeles as it looked in those years. The musical score is credited to Herschel Burke Gilbert. "Vice Squad" is one of the best films of the genre thanks to Arnold Laven inspired direction.

Fine Cop Entertainment

[nelsonhodgie · 6/10 · 23 February 2021]

Pretty good cop story with Eddy G in fine form as the Captain of the vice squad. It took me awhile to realize it was the vice squad since the first half hour is dominated by men. Paulette Goddard gives a brief but fun appearance as the Madam with the heart of gold and old friend of Robinsons. The rest is well directed and a confusing but intense heist keeps the movie flowing. A little one note but enteraining.

Straightforward but well-done day in the life of a police captain

[pjddm · 6/10 · 6 February 2022]

Vice Squad interweaves different stories that the police captain, played very well by Edward G. Robinson, must tackle during the course of a day. It does a good job of portraying the captain's many hassles and the need to constantly shift from one case and back to another. The film is shot in a realistic style in LA and has a great cast of supporting actors. And as long as it is focused on the most serious crimes it has a strong dramatic narrative and tension that holds our interest. But the film struggles to overcome its weaknesses, chief among them the constant juxtaposition of stories that is at the heart of the film's structure. The lighthearted ones seem realistic enough, but break up the flow. Paulette Goddard is overacting during her scenes and drags the film down every time she's on screen.

I liked it! La cops are insensitive to rights, lie, b&e and extort the public. Things haven't changed in 70 years.

[phlbrq58 · 7/10 · 6 January 2021]

Kinda funny no one above mentions the lousy procedures these guys follow. Endanger public at bank. Extort a civilian to be a false witness. Frustrate individual rights, lie and self deal with low life. This could be a sanctimonious Ramparts.

Funny that EGR would take on this poop since he held very liberal views but McCarthy.... On the other hand tightly constructed, day in the life, location shooting, Lee Van cleef and top character actors make it a good watch for buffs. That 1 score from the boring guy deserves derision.

No narration and using an immersive viewpoint helps it work better than others of this era. Don't call it noir. Its a police procedural that features colorless, competent cops and villainous criminals. Coulda been written in crayon. Its got EGR and a distinctive vibe. To think this director went on to charactarless tv work for so many lousy shows but also 3 Hill Streets.

Rock'em, Sock'em, Dark and Deadly

[howdymax · 9/10 · 18 May 2002]

I heard that Edward G Robinson referred to this as his "B" period. After seeing this movie, I'm really sorry he felt that way. Vice Squad is the story of a Chief of Detectives in LA dealing with a half dozen related problems, but primarily with a cop killing that is tied in with a bank robbery. There will be comparisons to Detective Story - and there are similarities - but despite it's puny budget, over the hill or unknown stars, and poor production values I think this is a better movie. In fact for the reasons above, it seems to have a more realistic feel. The action sequences and dialogue are, for the most part, really believable.

EGR was under suspicion by HUAC when this was made and I think it was reflected in his underplayed performance, which I think was an improvement. Paulette Goddard was totally irrelevant. Her part could have been played better by somebody like Isabel Jewell. Porter Hall and Jay Adler were never better.

I am sorry this film never got the attention it deserved. I'm sorry that Eddie G thought so little of it. But most of all, I am sorry that most people will never get to see it. I am an avid movie buff and it took me almost 50 years before I ever knew it existed. Please, see it if you can.

Vice Squad(1953)

[robfollower · 7/10 · 21 April 2024]

Vice Squad, tapping the affordable Edward G. Robinson and Paulette Goddard for marquee appeal.

Unjustly graylisted by the pamphlet Red Channels. The Report of Communist Influence in Radio and Television( Issued by the right-wing journal Counterattack on June 22, 1950, the pamphlet-style book names 151 actors, writers, musicians, broadcast journalists, and others until they cleared their names, the customary requirement being that they testify before the House Un-American Activities Committee (HUAC) and name names, which the vast majority refused to do. )

Robinson no longer commanded a top salary. Ironically, the movie was a property he had purchased six years earlier, before the HUAC debacle crippled his career. Ms. Goddard had been out of circulation for a while, and traded a reasonable paycheck for what looks like a few day's work. The team came up with a serviceable script about a police captain trying to get a handle on a gang of murderous bank robbers.

All credit to Edward G. Robinson, who makes all these shenanigans look like noble social work!

This isn't a big show for Paulette Goddard, but she does give Mona Ross an appropriately flirtatious quality - and looks cute in furs entering and leaving the captain's office, as if it was a second home.

A reasonably exciting crime tale put together with modest resources, Vice Squad achieves an interesting vibe somewhere between Dragnet and L. A. Confidential. The action is restricted to a couple of sequences, but it's certainly good enough; the bank robbery actually takes place in the Beverly Hills, and locals will easily recognize the streets. 7/10.

Ironic twists and calculating characters add a comic element to this above average "B" film noir.

[mark.waltz · 8/10 · 26 September 2014]

When a police officer is shot and killed after apprehending a suspect in a car theft, all hell breaks loose in the Los Angeles police department. Commander Edward G. Robinson is hellbent on apprehending the killer, and finds that the one key witness (Porter Hall) won't talk. He is under the advisement of his attorney to keep his mouth shut, but it is clear to Robinson that Hall is hiding something. That something is a blonde mistress which the portly Hall fears that a revelation of will end up being revealed to his unseen wife. In the meantime, Robinson also utilizes a local madam (Paulette Goddard) for clues as to the identity of the people involved in this case, while also investigating the claim of an aging conman that a Beverly Hills bank is about to be held up.

Poor Hall can't get a break. When his shady lawyer gets him off on a rift, Robinson has him accused of being a masher. Later, he's a public drunk, and more charges follow suit in Robinson's efforts to keep Hall detained. He knows that once Hall and his mistress (Joan Vohs) come upon each other, he'll get Hall to co-operate, and the way he goes about this is very clever. There's a very amusing sequence with Vohs, a fur model, being escorted away from work after modeling a fur for a client where the law-abiding police officer grabs the stoll off of her to hand back to the department store supervisor. Another amusing sequence has Goddard (basically underused but amusing in her few scenes) being taken in by the police while interviewing a "client". She has a very amusing exchange with Robinson in regards to "pick-ups", and you can see that Robinson, the victim in this wisecrack, is very amused by it.

Yet, as light-hearted as Robinson's character is, he ain't no sap, and when he does come across the man he believes to be the cop killer, he leaves no detail unexposed as he reveals what will happen to any cop killer as they head to the electric chair. His tongue may be in his cheek as he deals with getting the information he needs from witnesses, but when it comes to protecting his own, he is very serious. K.T. Stevens has little to do as his devoted secretary, but having had an interesting film career up to this time, I thought that it was very important to mention her, as she receives third billing. Unbilled Percy Helton is also memorable as a paranoid visitor to the precinct who has a fear of television. Several great shots of mid 1950's Los Angeles locations (going from downtown to Beverly Hills to Santa Monica Beach) give it a period look that adds to the reality of the drama.

Great period piece. Only one star, lots of characters.

[ChanRobt · 16 May 2002]

If you're old enough to remember L.A. in the early fifties, this is particularly fun. Lot's of location stuff, downtown, Long Beach or San Pedro. And the bank robbery takes place in Beverly Hills on Camden or Roxbury Drive, just below Little Santa Monica Blvd. Edgar G. Robinson is great as always. It's a cousin to Noir, lots of great faces and character acting. They couldn't afford a lot of sets, or any star beyond E.G.R., which is part of the charm of the movie. And if you like Detroit when it still had character, you'll love the great early fifties cars.

Look sister ... That was a cop they killed - and you gals know who pulled the trigger!

[hitchcockthelegend · 8/10 · 1 August 2019]

Vice Squad (AKA: The Girl in Room 17) is directed by Arnold Laven and adapted to screenplay by Lawrence Roman from the novel "Harness Bull" written by Leslie T. White. It stars Edward G. Robinson, Paulette Goddard, K.T. Stevens, Porter Hall, Adam Williams, Lee Van Cleef, Edward Binns, Barry Kelley and Jay Adler. Music is by Herschel Burke Gilbert and cinematography by Joseph F. Biroc.

Whichever title the marketing people throw at this MGM programmer does not in any way tell you exactly what sort of film is on offer. I mean, "Vice Squad" sounds devilishly tempting but this is merely one strand in a whole, likewise the suggestive "The Girl in Room 17" is exactly the same. Really - and it is too bland for MGM suits to have ever considered - it should have been called "A Day in the Life of a Los Angeles Police Captain", for that is exactly what this is, and damn great it is too.

Robinson is Captain Barnaby, who while trying to focus on who is responsible for the killing of a cop, has to juggle several other incidents in the day whilst coming to believe that a planned bank robbery the same day could be linked to the cop's murder. What quickly transpires is that Barnaby is not merely a cop, throughout the day he also has to be a psychiatrist and a councillor. He will have to make deals - not all text book legal - and he will use tricks and tactics that would now make the prissy brigade shiver and shake - and yet to get the right results has to be the order of the day here. He even will, during the chaos of the day, be called into a TV show interview to exude the upstanding greatness of the police force. What a day!

As police procedural "noirs" of the 50s go this one sits at the top end of the table. The editing (Arthur H. Nadel) is high quality as it stitches all the threads together without halting the flow of the story, the multitude of subplots seamlessly holding attention throughout. Within these sublots we find cynicism and dramatic verve, some choice suggestive and mocking dialogue, and even some censor baiting humour (hello underwear thief). Cast are superb within their respective roles, led by a steely in character Robinson, and even though Goddard (all swingy hips and suggestive postures as the "escort agency" boss) is underused (a crime given her scenes with Robinson are electric), this is a fine roll call of 40s/50s genre performers doing justice to the material to hand.

This was at the beginning of what would be a limited big screen directorial career for Arnold Laven (he would become a prolific TV series director/producer), but he marshals this one splendidly. He's helped by having Biroc (Cry Danger) on photography duty, where Biroc brings some deft noir visuals to the play (see the cross shadows as Barnaby takes troubling phone calls). Nifty location work comes out of Beverly Hills, Santa Monica and Long Beach, and how nice to report that there is now a nice looking print of the pic out there to sample. Ultimately though we want a hot pot of crims, coppers, shysters and working dames to seal our deal, and here we get the all - and all in one day! 8/10

Edward G. Robinson as a police in the thick of other people's troubles

[clanciai · 9/10 · 26 March 2021]

A film like this sticking consistently to gutter realism with such a professional flow that it almost seems documentary, calls to mind the great documentary thrillers of the 40s by Henry Hathaway, like "Call Northside 777" - this is of the same kind and character, but here you have Edward G. Robinson as the coolest and most routined of leading investigators. The criminals consistently commit mistakes, the very worst one starts the film off, and yet they persist in carrying through their plans, although they should have realised from the beginning that one mistake must lead to others. Paulette Goddard has a minor role but still fills the screen, while Lee van Cleef already here is as nasty as ever. There is a lot of humour as well, adding a spiritual touch to the mess of complications, and the poor mortuary agent will keep you laughing all the way as a very sorry comedian indeed. It's a great cocktail of police business with heaping masses of routine work, including some crackpots, a psychiatrist, an Italian impostor and Paulette Goddard's court of wanton ladies, so this is not just a criminal noir but above all great entertainment.