37 reviews
As Alan Ladd's last starring role, this was a pretty good way to finish his all-too-short career. While it's not the best thing he ever did, it is one of his better films. Unfortunately, for me, a real fan of Ladd, it's also a bit tough to watch because he's obviously suffering the effects of advanced alcoholism--with a puffy look about him and slightly slurred speech. In addition, at times his performance was a bit limp--though at other times, particularly at the end, he was able to rouse some of that old Alan Ladd energy and anger.
The film is about a decent man who through no fault of his own is badly beaten by a group of young spoiled rich thugs. The problem is that the information on who did this was scant so catching the thugs looked uncertain. Plus Ladd had a lot of trouble getting on with his life--particularly when members of this little gang began threatening him and his wife. From that point on, Ladd is a bit like Captain Ahab--with an almost incessant need to find and punish the teens. Surprisingly, Rod Steiger underplays the role of a decent detective who is investigating the case (he sometimes seemed to overact in some films--here he was perfect). He's trying his best to find the boys AND keep Ladd from getting himself in trouble for being a vigilante.
Add to this basic plot decent acting, a very good and suspenseful script as well as a very adult plot for 1962 and you've got the formula for a very good drama--far better than many of the mediocre films Ladd had been making through much of the 1950s and 60s.
The film is about a decent man who through no fault of his own is badly beaten by a group of young spoiled rich thugs. The problem is that the information on who did this was scant so catching the thugs looked uncertain. Plus Ladd had a lot of trouble getting on with his life--particularly when members of this little gang began threatening him and his wife. From that point on, Ladd is a bit like Captain Ahab--with an almost incessant need to find and punish the teens. Surprisingly, Rod Steiger underplays the role of a decent detective who is investigating the case (he sometimes seemed to overact in some films--here he was perfect). He's trying his best to find the boys AND keep Ladd from getting himself in trouble for being a vigilante.
Add to this basic plot decent acting, a very good and suspenseful script as well as a very adult plot for 1962 and you've got the formula for a very good drama--far better than many of the mediocre films Ladd had been making through much of the 1950s and 60s.
- planktonrules
- Aug 13, 2007
- Permalink
This is an above average programmer that benefits from decent, if predictable, performances by Alan Ladd and Rod Steiger. Ladd is a rocket scientist who gets mugged on the way home from a late night at the office by a roving band of Beverly Hills punks led by Michael Callan. What follows could be considered Death Wish 1962, as Ladd pursues the villains whilst police officer Steiger tries to keep him under control. Good photography by Charles Lawton Jr. and a reasonably interesting George Duning score make this one to watch on a cold winter's night.
Alan Ladd, Rod Steiger, Michael Callan, and Delores Dorn star in "13 West Street," from 1962.
This was Alan Ladd's last starring role, and, frankly, it was heartbreaking to see him. He looks all washed up and shows the effect of his alcoholism. He plays an aeronautics engineer. Walt Sherrill, who comes up against some juveniles and is badly beaten by them, left with a broken leg, a concussion, and other injuries. The biggest injury seems to be to his psyche.
Dissatisfied with the progress of one Detective Koleseki (Steiger), Sherill hires a private detective (Stanley Adams) to help track down his attackers. The kids seem to be from a good school and good families.
It's not long after he returns from the hospital that he and his wife (Dorn) begin to receive threats, warning them not to continue the investigation. Sherrill is driven to take the law into his own hands, to the consternation of Koleski and Mrs. Sherrill.
Juvenile delinquency was a hot topic in the 1950s. Of course, what was considered juvenile delinquency then - souped up hot rods, talking back to parents and teachers, and chewing gum, seems like good etiquette now. Here, Michael Callan, Chris Robinson, and Arnold Merritt are spoiled kids whose parents let them get away with murder. Landry (Callan) is the one with no conscience, and he has control over the other kids.
Of interest to me was the Mrs. Cleaver concept of Ladd's wife, Dorn, and the mothers - Jeanne Cooper and Margaret Hayes - being impeccably dressed mid-day and not seeming to do much other than relax by the pool or mixing a drink.
Rod Steiger is excellent as a careful, calm detective who doesn't get rattled easily; beauty pageant winner/stage actress/acting teacher Delores Dorn is lovely as Sherrill's wife.
Alan Ladd had a short but very successful career. He had a Grapes of Wrath childhood, he watched his mother poison herself and die, he was of small stature - that he became such a star, had a family, and made it to 50 was a miracle. He left a strong legacy. That's how I want to remember him.
This was Alan Ladd's last starring role, and, frankly, it was heartbreaking to see him. He looks all washed up and shows the effect of his alcoholism. He plays an aeronautics engineer. Walt Sherrill, who comes up against some juveniles and is badly beaten by them, left with a broken leg, a concussion, and other injuries. The biggest injury seems to be to his psyche.
Dissatisfied with the progress of one Detective Koleseki (Steiger), Sherill hires a private detective (Stanley Adams) to help track down his attackers. The kids seem to be from a good school and good families.
It's not long after he returns from the hospital that he and his wife (Dorn) begin to receive threats, warning them not to continue the investigation. Sherrill is driven to take the law into his own hands, to the consternation of Koleski and Mrs. Sherrill.
Juvenile delinquency was a hot topic in the 1950s. Of course, what was considered juvenile delinquency then - souped up hot rods, talking back to parents and teachers, and chewing gum, seems like good etiquette now. Here, Michael Callan, Chris Robinson, and Arnold Merritt are spoiled kids whose parents let them get away with murder. Landry (Callan) is the one with no conscience, and he has control over the other kids.
Of interest to me was the Mrs. Cleaver concept of Ladd's wife, Dorn, and the mothers - Jeanne Cooper and Margaret Hayes - being impeccably dressed mid-day and not seeming to do much other than relax by the pool or mixing a drink.
Rod Steiger is excellent as a careful, calm detective who doesn't get rattled easily; beauty pageant winner/stage actress/acting teacher Delores Dorn is lovely as Sherrill's wife.
Alan Ladd had a short but very successful career. He had a Grapes of Wrath childhood, he watched his mother poison herself and die, he was of small stature - that he became such a star, had a family, and made it to 50 was a miracle. He left a strong legacy. That's how I want to remember him.
It was not very long into viewing this film that Alan Ladd was at the end of his career in Hollywood, his problem with Alcohol were starting to get the best of him in his eyes and face and even makeup could not hide the demon's he was facing in real life. Walt Sherill,(Ladd) plays the role of an aerospace engineer and very successful and married to his wife, Tracey Sherill, (Dolores Dorn) in a very nice home in the suburbs. One night as Walt is leaving his office he runs out of gas and starts to walk to a telephone when he is almost run down by a speeding car driven by delinquent juveniles. Walt yells at them and they proceed to go back to Walt and beat the living day lights out of him. It is from this point in the film which becomes very interesting and Rod Steiger, (Det. Sergeant Kileski) gives an outstanding supporting role which makes this picture a success. It is sad to say that this was Alan Ladd's last starring role in Hollywood and two years later he passed on to a greater stage.
This is one of Alan Ladd's last films, and his age is showing. But his acting is more than adequate, and it's a pleasure to see him in a role like this (aerospace engineer, husband) rather than "Gun for Hire", "Shane", "Blue Dahlia", "The Iron Mistress". etc. So much of his work was done in costume, he looks strange dressed like a suburban professional.
- drjgardner
- Jun 18, 2019
- Permalink
Alan Ladd, in his second to last role, is Sherill, a rocket scientist who gets beat up by a gang of thugs. Rod Steiger is Detective Koleski, who is working the case. He tells Sherill to let him solve the case, but both the gang of punks and Sherill keep going after each other. This can't end well! Directed by Philip Leacock. This was one of the last films he directed.... did mostly television after this, for another twenty years! Story is based on The Tiger Above Us, by Leigh Brackett. Ladd died young at 50, from a combination of alcohol and drugs. Steiger will go on to win the oscar for Heat of the Night a couple years later. It's just okay. No big shakespeare production, but it'll do.
Alan Ladd plays an aerospace engineer who is assaulted by a group of juvenile delinquents. Ladd ignores police detective Rod Steiger's advice to cool his jets and let the police investigate. Ladd instead buys a gun and hunts down the young punks. Based on a novel by Leigh Brackett, screenwriter of "The Big Sleep," "Rio Bravo," "The Long Goodbye," and "The Empire Strikes Back," the story is essentially a lighter version of Brian Garfield's "Death Wish." The punks are not as vicious and the vigilante is not as violent. Still, it's a solid thriller that does have an edge to it and Ladd is compelling in what would be his final leading man role. FUN FACT! At one point John Wayne was announced as a possible choice for the lead in this film after producer Charles Schnee had bought the film rights to the 1957 novel.
- rmax304823
- Jan 12, 2003
- Permalink
If earlier reviews clue you into Death Wish, it's probably because this film was a forerunner to the revenge-themed plot still popular today. Unfortunately, that fact doesn't elevate this film beyond its mediocrity. A big fan of Ladd, I'm regrettably disappointed.
There's energy and tension and drama lacking here when the action isn't happening. Delores Dorn sizzled in Underworld U. S. A.; unfortunately, her performance is aimless. Steiger saves the day, which is surprising since he likes to chew the celluloid before it leaves the camera.
I agree with the review highlighting nice cinematography and a surprisingly entertaining musical score.
Worth the watch if you're a diehard Ladd fan, but it's sadly and ultimately forgettable.
There's energy and tension and drama lacking here when the action isn't happening. Delores Dorn sizzled in Underworld U. S. A.; unfortunately, her performance is aimless. Steiger saves the day, which is surprising since he likes to chew the celluloid before it leaves the camera.
I agree with the review highlighting nice cinematography and a surprisingly entertaining musical score.
Worth the watch if you're a diehard Ladd fan, but it's sadly and ultimately forgettable.
- mollytinkers
- Jun 19, 2021
- Permalink
After doing the horrific Duel of the Champions in Europe, film offers were not inundating Alan Ladd any more. He was probably lucky to get this one which in fact he produced for himself.
13 West Street is an unpretentious drama about a 40 something man, a successful guy, an aerospace engineer in fact, who takes a wrong turn on the way home and runs into a gang of punks led by Michael Callan. They beat him up, really without any reason or provocation as punks are wont to do.
Alan Ladd is our victim and Rod Steiger is the detective from the juvenile division assigned to his case. Like Charles Bronson in Death Wish, Ladd is not real happy with the progress and starts investigating on his own. It leads to two deaths as byproducts in his pursuit of vengeance.
Dolores Dorn is good as Ladd's wife who doesn't like the changes in her husband. Ladd does give a good account of himself as the middle-aged man he was. Possibly he and Sue Carol realized finally he was no longer believable as an action hero.
Sad that the realization came too late because there was only one more film left in the career of Alan Ladd.
13 West Street is an unpretentious drama about a 40 something man, a successful guy, an aerospace engineer in fact, who takes a wrong turn on the way home and runs into a gang of punks led by Michael Callan. They beat him up, really without any reason or provocation as punks are wont to do.
Alan Ladd is our victim and Rod Steiger is the detective from the juvenile division assigned to his case. Like Charles Bronson in Death Wish, Ladd is not real happy with the progress and starts investigating on his own. It leads to two deaths as byproducts in his pursuit of vengeance.
Dolores Dorn is good as Ladd's wife who doesn't like the changes in her husband. Ladd does give a good account of himself as the middle-aged man he was. Possibly he and Sue Carol realized finally he was no longer believable as an action hero.
Sad that the realization came too late because there was only one more film left in the career of Alan Ladd.
- bkoganbing
- Aug 12, 2007
- Permalink
I saw this film with my dad at the now long gone Miami Theater on Flager Street in Downtown, Miami, Florida when I was a kid. I remember it being in black & white, and that Alan Ladd looked tired and worn out. But, if you're a fan of Ladd, this film is a must-see. Again, as is the case for most fading, washed-up actors, even though the film is third rate, the script fair, and the budget no-where to be seen, Ladd gives a talented performance. It's far from his best(Shane), but you can see that he's giving the best-he-can, with what he had left. Only about 50 here, he looks to be in his mid-60s. However, he still had that lean, trim, build, and that look of confidence. A fine supporting cast adds to this out-dated period piece. Made in 1962, it is corny stuff, but surprisingly was a prediction of the "senseless" violence to come. Better than you'd think.
- angelsunchained
- Feb 15, 2005
- Permalink
- januszlvii
- Jul 4, 2021
- Permalink
Alan Ladd, in his second-to-last film, plays some sort of scientist in Los Angeles who manages to run out of gas...in his car alone...at night in a bad neighborhood. A pack of country club teenagers in a souped-up car jump him and bust a couple of ribs, bringing Rod Steiger's detective ("Juvenile Division") into the picture, but Ladd can't wait for the slow arm of the law to bring him justice and looks for the boys on his own. Adaptation of Leigh Brackett's novel "The Tiger Among Us" (a better title!), the movie is a bit overwrought and wild-eyed, though the mechanics of the story are gripping, if utterly unpleasant. Steiger looks a little sheepish here and is disappointing, but Ladd's non-present performance is the real shame; his face puffy and jowly, his lips thin, Ladd is barely even alert. He has a fairly intense role here, but the fading actor just walks through it. Some of the details about the case are very interesting (particularly the wealthy kids involved, and how they relate to their indifferent parents), but the promising set-up for the plot is let down by all the overripe melodrama. Still, a curious, watchable attempt at delinquent terrors, perhaps a precursor to "Death Wish". ** from ****
- moonspinner55
- Aug 12, 2007
- Permalink
When a performer's career is in rapid artistic free fall, the body of work from that period often receives across the board dismissal. By 1962, Alan Ladd appears to have been a defeated man, prematurely aged, engulfed by personal issues and with a string of largely mediocre movies following his departure from Paramount.
'13 West Street', produced by 'Ladd Enterprises' for Columbia, isn't quite like finding a diamond in a cowpat, but it successfully echoes some of its star's former glories and is far better than one might have dared to imagine.
Rock'n'roll era noir frequently shifted the emphasis away from ruthless syndicates and daring robberies to the nascent youth culture and juvenile crime.....Daddy-o! In the dead of night, Ladd is severely beaten, sustaining a broken leg, requiring lengthy hospital treatment after being set upon by five boys. Not the chocolate bar!....and not a swarm of oily, ugly, bad-breathed, brittle brained, dumb guy hoodlums, returning from a zit convention, but educated, well to do, suburban pretty boys, who simply hate everything that Ladd represents: affluent, middle class respectability, prosperity and ambition. It's not rocket science!, except that.....er...well actually it is, in so far as Ladd works as a rocket engineer, currently commissioned to evaluate the cause of a failed launch.
The limping Ladd soon tires of dapper detective, Rod Steiger's softly softly approach, appointing a private investigator, before, much to Steiger's indignation, pursuing the case himself.
Despite its obvious quality, '13 West Street' proved neither a launching pad to re-boot Ladd's fortunes nor a crutch for support during his final months. Disappointed that the movie opened on the lower half of a New York double bill, sadly, he did not live long enough to see the premiere of his next and last film, 'The Carpetbaggers'.
'13 West Street', produced by 'Ladd Enterprises' for Columbia, isn't quite like finding a diamond in a cowpat, but it successfully echoes some of its star's former glories and is far better than one might have dared to imagine.
Rock'n'roll era noir frequently shifted the emphasis away from ruthless syndicates and daring robberies to the nascent youth culture and juvenile crime.....Daddy-o! In the dead of night, Ladd is severely beaten, sustaining a broken leg, requiring lengthy hospital treatment after being set upon by five boys. Not the chocolate bar!....and not a swarm of oily, ugly, bad-breathed, brittle brained, dumb guy hoodlums, returning from a zit convention, but educated, well to do, suburban pretty boys, who simply hate everything that Ladd represents: affluent, middle class respectability, prosperity and ambition. It's not rocket science!, except that.....er...well actually it is, in so far as Ladd works as a rocket engineer, currently commissioned to evaluate the cause of a failed launch.
The limping Ladd soon tires of dapper detective, Rod Steiger's softly softly approach, appointing a private investigator, before, much to Steiger's indignation, pursuing the case himself.
Despite its obvious quality, '13 West Street' proved neither a launching pad to re-boot Ladd's fortunes nor a crutch for support during his final months. Disappointed that the movie opened on the lower half of a New York double bill, sadly, he did not live long enough to see the premiere of his next and last film, 'The Carpetbaggers'.
- kalbimassey
- Jul 12, 2023
- Permalink
This movie anticipated the man-who-takes-the -law-in -his-hands subject which became very common in the seventies and eighties ;a bloated Alan Ladd -who is no longer physically the "Shane " lawman -,who was beaten up by a gang after hours -finds the cop's work ( Rod Steiger gives an amazing performance restraint in his gestures and words ) not effective and not quick enough .
The gang is particularly interesting :first appearance may make think of boys coming from the wrong side of town-even the car may have been stolen- ,rebels against the establishment (represented by a scientist : the beginning of the movie has something incongruous )and their rules;actually ,with the possible exception of the boy who works in a drugstore , they are rich kids ,born silver spoon in hand ,with parents who provide them with protection (see the scene by the pool ,when Chuck tells his mom he always lies to the police and she thoughtlessly approves of his behavior .
Chuck-a good performance by M. Callan- is actually the most fascinating character : perhaps inspired by Richard Fleischer's Artie Strauss (played by Bradford Dillman in his masterful "compulsion" ,based on real facts) ,he's the evil genius of the gang which he dominates ;like both heroes of "compulsion" ,he belongs to the high society .
The screenplay is too dense and too eventful in its last part ; but its inexorable escalation of violence makes sense , and it does not pass over in silence that an honest citizen can turn into a criminal too.
The gang is particularly interesting :first appearance may make think of boys coming from the wrong side of town-even the car may have been stolen- ,rebels against the establishment (represented by a scientist : the beginning of the movie has something incongruous )and their rules;actually ,with the possible exception of the boy who works in a drugstore , they are rich kids ,born silver spoon in hand ,with parents who provide them with protection (see the scene by the pool ,when Chuck tells his mom he always lies to the police and she thoughtlessly approves of his behavior .
Chuck-a good performance by M. Callan- is actually the most fascinating character : perhaps inspired by Richard Fleischer's Artie Strauss (played by Bradford Dillman in his masterful "compulsion" ,based on real facts) ,he's the evil genius of the gang which he dominates ;like both heroes of "compulsion" ,he belongs to the high society .
The screenplay is too dense and too eventful in its last part ; but its inexorable escalation of violence makes sense , and it does not pass over in silence that an honest citizen can turn into a criminal too.
- ulicknormanowen
- May 3, 2021
- Permalink
In 1962 the Fervor Over the Teenage"Rebels" Threat to "Polite Society" by Leather-Clad Bikers and Loud, Obnoxious "Hot-Rods" was on the Decline and No Longer Heading "Tabloids" and Other Provocateurs Stirring the Pot of a Gullible and Scary-Cat Citizenry.
Elvis was "Gutted" and Presented, Cleaned-Up and Ready for a Batch of "Bad-Elvis-Movies, so Squeaky and Fluffy that Contained No Threat to Public Decency.
The "We are more popular than Jesus!" Headline was a Few Years Away when "The Beatles" would be the Next "Threat" Destroying American Youth.
So this, Sad and Unbearable Alan Ladd Performance that Couldn't Hide His "Advanced Alcoholism" and Related Circumstances Portended His Death at Age 50.
In Fact this would be His Last Starring Role and Following a Supporting Role in "The Carpetbaggers" (1964), the Curtain Came Crashing Down on a Once Very Popular Actor Alan Ladd.
The Film is a Mediocre Main-Stream Hollywood Production about a Once Thriving "Controversial" Sub-Genre and Exploitation for the "Teen" Market.
You Could Say that this one Brought the Crashing Down on that Sort of Story. Even the Actors Playing the Teenagers, Look Old and Out of Date for Such Things.
Rod Steiger, also Headlining, is a Bow-Tied Wearing Public Servant and Doesn't Do Much More than Talk on the Phone and Warn Ladd to "Settle Down and Be Patient" after He is Beaten to Near Death and His Home is Invaded and His Wife is Threatened with Rape by Phone.
It's Not a Bad Movie, but True Alan Ladd Fans might Want to Avoid the Heartache and Try to Remember the Star from Other Films.
This One isn't Worth the Hard Watch for it Reflects (can't hide from the camera) a Reality of a Real-Life Tragedy that was the Personal Life of Alan Ladd.
Elvis was "Gutted" and Presented, Cleaned-Up and Ready for a Batch of "Bad-Elvis-Movies, so Squeaky and Fluffy that Contained No Threat to Public Decency.
The "We are more popular than Jesus!" Headline was a Few Years Away when "The Beatles" would be the Next "Threat" Destroying American Youth.
So this, Sad and Unbearable Alan Ladd Performance that Couldn't Hide His "Advanced Alcoholism" and Related Circumstances Portended His Death at Age 50.
In Fact this would be His Last Starring Role and Following a Supporting Role in "The Carpetbaggers" (1964), the Curtain Came Crashing Down on a Once Very Popular Actor Alan Ladd.
The Film is a Mediocre Main-Stream Hollywood Production about a Once Thriving "Controversial" Sub-Genre and Exploitation for the "Teen" Market.
You Could Say that this one Brought the Crashing Down on that Sort of Story. Even the Actors Playing the Teenagers, Look Old and Out of Date for Such Things.
Rod Steiger, also Headlining, is a Bow-Tied Wearing Public Servant and Doesn't Do Much More than Talk on the Phone and Warn Ladd to "Settle Down and Be Patient" after He is Beaten to Near Death and His Home is Invaded and His Wife is Threatened with Rape by Phone.
It's Not a Bad Movie, but True Alan Ladd Fans might Want to Avoid the Heartache and Try to Remember the Star from Other Films.
This One isn't Worth the Hard Watch for it Reflects (can't hide from the camera) a Reality of a Real-Life Tragedy that was the Personal Life of Alan Ladd.
- LeonLouisRicci
- Mar 27, 2023
- Permalink
Rocket engineer Walt Sherill (Alan Ladd) has a car breakdown on a deserted street where he gets attacked by a group of teenagers. They get his address from his wallet, 13 West Street. Detective Sergeant Pete Koleski (Rod Steiger) investigates. Facing police heat, the kids retaliate against Walt and his wife.
The 'kids' are very 50's. I don't know any of them. If only there is a future star amongst them, this would be a must-see. It's an interesting little crime drama. It's a horror movie with teenagers as the boogeyman. Fear the teenagers. That's the message and it's a good one for its time. The kids are going wild and overturning the accepted structure. This is a reactionary movie for its time.
The 'kids' are very 50's. I don't know any of them. If only there is a future star amongst them, this would be a must-see. It's an interesting little crime drama. It's a horror movie with teenagers as the boogeyman. Fear the teenagers. That's the message and it's a good one for its time. The kids are going wild and overturning the accepted structure. This is a reactionary movie for its time.
- SnoopyStyle
- Jun 18, 2021
- Permalink
Alan Ladd made so many good movies. I'm certain he had many more left in him. For some reason, he couldn't see that. So sad.
"13 West Street" is an advanced film for its day. This is primarily due to Ladd's creative input, since he changed the antagonists from inner city gangbangers to spoiled suburban brats. A very timely message even now.
In this story, he plays an average family guy who stumbles into the wrong place at the wrong time when he suffers a vicious beating at the hands of a juvenile delinquent gang terrorizing a posh upscale neighborhood. From there, things rapidly turn from bad to worse - just the way film-noir should.
(BTW, the plot and parable of this film closely resembles Kevin Bacon's role in "Death Sentence" {2007} - another excellent rendition of this story. Both are topnotch guy-films.)
Tune in into this rousing film and watch a master actor in his tortuous decline. Then wonder as I do. Why, Alan? Why???
"13 West Street" is an advanced film for its day. This is primarily due to Ladd's creative input, since he changed the antagonists from inner city gangbangers to spoiled suburban brats. A very timely message even now.
In this story, he plays an average family guy who stumbles into the wrong place at the wrong time when he suffers a vicious beating at the hands of a juvenile delinquent gang terrorizing a posh upscale neighborhood. From there, things rapidly turn from bad to worse - just the way film-noir should.
(BTW, the plot and parable of this film closely resembles Kevin Bacon's role in "Death Sentence" {2007} - another excellent rendition of this story. Both are topnotch guy-films.)
Tune in into this rousing film and watch a master actor in his tortuous decline. Then wonder as I do. Why, Alan? Why???
- TheJonesBones
- Jul 7, 2024
- Permalink
Almost last lap for the once-heroic Alan Ladd, with whom it is hard not to sympathise in his all-too-visible alcoholic decline.
Cast as a rather improbable rocket scientist (a distraction, in fact), Ladd manages to run out of gas in a rough street at night, where some less-usual teen gangsters from genteel homes show their courage by challenging him five-to-one and beating him to pulp. Rod Steiger somewhat underplays the sympathetic but overworked cop, whose slow, deliberate detective work provokes Ladd into a manhunt of his own.
Much of the storyline probably looked as implausible then as it does now, especially Ladd's single-handed trouncing of the armed gang-leader before deciding whether to perform a noble act of mercy.
But the film is now mainly rewarding as a little black-&-white mirror of a vanished suburban life, just before the 60's became the 60's. Ladd's young wife, played by Dolores Dorn, is the vulnerable blonde in the perfect home that suddenly gets a mafia-style threat through the window. Ladd's investigations show us into other affluent homes too, with the mean features of Jeanne Cooper as one of the parents concealing their sons' guilt, Margaret Hayes cool and elegant as another. And when Dorn is unexpectedly flung to the floor, there is more erotic voltage in two seconds of her part-exposed thigh than in any of the yawn-porn that would soon become standard.
Cast as a rather improbable rocket scientist (a distraction, in fact), Ladd manages to run out of gas in a rough street at night, where some less-usual teen gangsters from genteel homes show their courage by challenging him five-to-one and beating him to pulp. Rod Steiger somewhat underplays the sympathetic but overworked cop, whose slow, deliberate detective work provokes Ladd into a manhunt of his own.
Much of the storyline probably looked as implausible then as it does now, especially Ladd's single-handed trouncing of the armed gang-leader before deciding whether to perform a noble act of mercy.
But the film is now mainly rewarding as a little black-&-white mirror of a vanished suburban life, just before the 60's became the 60's. Ladd's young wife, played by Dolores Dorn, is the vulnerable blonde in the perfect home that suddenly gets a mafia-style threat through the window. Ladd's investigations show us into other affluent homes too, with the mean features of Jeanne Cooper as one of the parents concealing their sons' guilt, Margaret Hayes cool and elegant as another. And when Dorn is unexpectedly flung to the floor, there is more erotic voltage in two seconds of her part-exposed thigh than in any of the yawn-porn that would soon become standard.
- Goingbegging
- Feb 23, 2013
- Permalink
I had fairly low expectations going into this one, but the film quickly churns into full noir-ish life as one of the last of what was to be a dying breed of movie--a psychological thriller pulling us close to the world of the always fascinating Alan Ladd as he runs head on into forces beyond his control. (I disagree that Ladd's personal problems detract from his performance at all. In fact to me the intentional darkness of the mood is simply strengthened by Ladd just as he was able to do in a dozen other gripping dramas both large and small. This is a "small" drama, to be sure, but none the less intense and intriguing.
A plot theme emerges here treated the way a great noir director of the 40's might have treated it--pathological youth violence, a real social problem often glossed over {Rebel Without A Cause, for example) or in later 1960's films glamorized and turned into the iconic images for a new generation.
But here it is--stark, vicious, mindless, and cruel just because people can get away with it. This is a brave and unflinching film and a real treat for those who appreciate the genre. Keep your expectations modest and it will surprise you quite happily!
A plot theme emerges here treated the way a great noir director of the 40's might have treated it--pathological youth violence, a real social problem often glossed over {Rebel Without A Cause, for example) or in later 1960's films glamorized and turned into the iconic images for a new generation.
But here it is--stark, vicious, mindless, and cruel just because people can get away with it. This is a brave and unflinching film and a real treat for those who appreciate the genre. Keep your expectations modest and it will surprise you quite happily!
This is just cheap exploitation with an A movie cast. It has no redeeming social, dramatic or entertainment value. It isn't even camp. We know why Ladd made this film, but why would Steiger bother?
This film is just pointlessly depressing. Ladd looks tired and ill, at least 20 years older than his age. The poor man looks like he is suffering mentally and physically - and it isn't acting.
This film is just pointlessly depressing. Ladd looks tired and ill, at least 20 years older than his age. The poor man looks like he is suffering mentally and physically - and it isn't acting.
Ladd was 49, but looked closer to 69, and his character joked about having kids in the future.
The acting was terrible, except for Steiger, and the story pathetic. The script made it worse, along with the stale direction.
Don't waste your time watching this one, except to see young Ted Knight or Stanley Adams (Cyrano Jones). Or, if you're a big fan of 25 to 30 year old teenagers behaving (and acting) poorly.
The acting was terrible, except for Steiger, and the story pathetic. The script made it worse, along with the stale direction.
Don't waste your time watching this one, except to see young Ted Knight or Stanley Adams (Cyrano Jones). Or, if you're a big fan of 25 to 30 year old teenagers behaving (and acting) poorly.
- hemisphere65-1
- Jul 10, 2021
- Permalink
I was very surprised with "13 West Street". I found it both believable, and well-performed. It's amazing to see Alan Ladd's character correctly identify his as a "hate" crime. The way the director makes us (and the characters) think all teenagers are members of the five who attacked Mr. Ladd was nicely done.
The successful older man coming to terms, perhaps, with his increasing vulnerability is a great film subject. Ladd seems to understand this, and it becomes part of his performance. His physicality (whatever real health concerns he is having) is successfully incorporated into his performance.
Ladd's younger "trophy" wife really cares for him, and is unsure how to handle the unfolding events. Rod Steiger is great as the police detective assigned to the case -- watch how he turns over the newspaper when he confront the bartender. There are a lot of nice little touches like that -- from the director and/or performers watch all their little mannerisms; they all fit the characters, and add to the believability.
There are more unexpected, and riveting, events. Are they implausible? In a 1962 film, perhaps they seemed so, but the decade ended with crimes and criminals significantly more "implausible". Accepting the situation is believable, there are some flaws which keep this from being a perfect film. I would have preferred "Chuck" to be a Charles Manson-type psycho, and could have done without the "Teenage Terror" angle. There are also some necessary "budget" restrictions.
They made the absolute most out of the budget they had, though. Highly recommended!
********* 13 West Street (1962) Philip Leacock ~ Alan Ladd, Rod Steiger, Michael Callan, Dolores Dorn
The successful older man coming to terms, perhaps, with his increasing vulnerability is a great film subject. Ladd seems to understand this, and it becomes part of his performance. His physicality (whatever real health concerns he is having) is successfully incorporated into his performance.
Ladd's younger "trophy" wife really cares for him, and is unsure how to handle the unfolding events. Rod Steiger is great as the police detective assigned to the case -- watch how he turns over the newspaper when he confront the bartender. There are a lot of nice little touches like that -- from the director and/or performers watch all their little mannerisms; they all fit the characters, and add to the believability.
There are more unexpected, and riveting, events. Are they implausible? In a 1962 film, perhaps they seemed so, but the decade ended with crimes and criminals significantly more "implausible". Accepting the situation is believable, there are some flaws which keep this from being a perfect film. I would have preferred "Chuck" to be a Charles Manson-type psycho, and could have done without the "Teenage Terror" angle. There are also some necessary "budget" restrictions.
They made the absolute most out of the budget they had, though. Highly recommended!
********* 13 West Street (1962) Philip Leacock ~ Alan Ladd, Rod Steiger, Michael Callan, Dolores Dorn
- wes-connors
- Aug 12, 2007
- Permalink