The Golden Age Of The B-Film Noir- Lloyd Bridges’ “The Big Deadly Game” (1954)

DVD Review

By Film Editor Emeritus Sam Lowell

The Big Deadly Game, starring Lloyd Bridges (Jeff’s father okay when he needed dough I guess and hit the bricks in London and Spain), Simone Silva, Hammer Productions, 1954

Recently in a review of the British film Terror Street (distributed in Britain as 36 Hours) and subsequently another British entry The Black Glove (distributed in Britain as Face The Music probably a better title since it involved a well-known trumpet player turning from searching for that high white note everybody in his profession is looking for to amateur private detective once a lady friend is murdered and he looked for all the world like the natural fall guy) I noted that long time readers of this space know, or should be presumed to know, of my long-standing love affair with film noir. Since any attentive reader will note this is my third such review of B-film noirs in the last period I still have the bug.

I went on to mention some of the details to my introduction to the classic age of film noir in this country in the age of black and white film in the 1940s and 1950s when I would sneak over to the now long gone and replaced by condos Strand Theater in growing up town North Adamsville and spent a long double feature Saturday afternoon watching complete with a stretched out bag of popcorn (or I think it is safe to say it now since the statute of limitation on the “crime” must surely have passed snuck in candy bars bought at Harold’s Variety Store on the way to the theater) some then current production from Hollywood or some throwback from the 1940s which Mister Cadger, the affable owner who readily saw that I was an aficionado who would pepper him with questions about when such and such a noir was to be featured would let me sneak in for kid’s ticket prices long after I reached the adult price stage at twelve I think it was, would show in retrospective to cut down on expenses in tough times by avoiding having to pay for first –run movies all the time. (And once told me to my embarrassment that he made more money on the re-runs than first runs and even more money on the captive audience buying popcorn and candy bars-I wonder if he knew my scam.

I mentioned in passing as well that on infrequent occasions I would attend a nighttime showing (paying full price after age twelve since parents were presumed to have the money to spring  for full prices) with my parents if my strict Irish Catholic mother (strict on the mortal sin punishment for what turned out to have been minor or venial sins after letting my older brothers, four count them, four get away with murder and assorted acts of mayhem) thought the film passed the Legion of Decency standard that we had to stand up and take a yearly vow to uphold and I could under the plotline without fainting (or getting “aroused” by the fetching femmes).

What I did not mention although long time readers should be aware of this as well was that when I found some run of films that had a similar background I would “run the table” on the efforts. Say a run of Raymond Chandler film adaptations of his Phillip Marlowe crime novels or Dashiell Hammett’s seemingly endless The Thin Man series. That “run the table” idea is the case with a recently obtained cache of British-centered 1950s film noirs put out by the Hammer Production Company as they tried to cash in on the popularity of the genre for the British market (and the relatively cheap price of production in England). That Terror Street mentioned at the beginning had been the first review in this series (each DVD by the way contains two films the second film Danger On The Wings in that DVD not worthy of review) and now the film under review under review the overblown if ominously titled The Big Deadly Game (distributed in England, Britain, Great Britain, United Kingdom or whatever that isle calls itself these Brexit days as the innocuous Third Party Risk is the third such effort. On the basis of these four viewings (remember one didn’t make the film noir aficionado cut so that tells you something right away) I will have to admit they are clearly B-productions none of them would make anything but a second or third tier rating.         

After all as mentioned before in that first review look what they were up against. For example who could forget up on that big screen for all the candid world to see a sadder but wiser seen it all, heard it all Humphrey Bogart at the end of The Maltese Falcon telling all who would listen that he, he Sam Spade, no stranger to the seamy side and cutting corners, had had to send femme fatale Mary Astor his snow white flame over, sent her to the big step-off once she spilled too much blood, left a trail of corpses, for the stuff of dreams over some damn bird. Or cleft-chinned barrel-chested Robert Mitchum keeping himself out of trouble in some dink town as a respectable citizen including snagging a girl next door sweetie but knowing he was doomed, out of luck, and had cashed his check for his seedy past taking a few odd bullets from his former femme fatale trigger-happy girlfriend Jane Greer once she knew he had double-crossed her to the coppers in Out Of The Past. Ditto watching the horror on smart guy gangster Eddie Mars face after being outsmarted because he had sent a small time grafter to his doom when prime private detective Phillip Marlowe, spending the whole film trying to do the right thing for an old man with a couple of wild daughters, ordered him out the door to face the rooty-toot-toot of his own gunsels who expected Marlowe to be coming out in The Big Sleep. How about song and dance man Dick Powell turning Raymond Chandler private eye helping big galoot Moose Malone trying to find his Velma and getting nothing but grief and a few stray conks on the head chasing Claire Trevor down when she didn’t want to be found having moved uptown with the swells in Murder, My Sweet. Those were some of the beautiful and still beautiful classics whose lines you can almost hear anytime you mention the words film noir.

In the old days before I retired I always liked to sketch out a film’s plotline to give the reader the “skinny” on what the action was so that he or she could see where I was leading them. I will continue that old tradition here (as I did with Terror Street and The Black Glove and will do in future Hammer Production vehicles to be reviewed over the coming period) to make my point about the lesser production values of the Hammer products. Lloyd Bridges is a music guy (not a trumpeter which might have given him some juices but some kind of second-string composer) who is in Spain on holiday as they say in England, Britain, the United Kingdom, or whatever when he runs into an old war buddy who seems to be in trouble. And he is since he winds up dead, very dead, for some unknown transgression. Seems that this war buddy had run afoul of an international smuggling ring centered in Spain and run by some mal hombres from the look of them and had to pay the price for his treason. Naturally clean-cut good guy Lloyd figures out what was what and the bad guys fell down, fell down hard once he put the hammer to them. Vaya con dios mal hombres.     

That is the gist of the main crime story but what this one really was about if you looked at time spent on the subject was his romance with this Spanish senorita, played by Simone Silva,  who was running a dance school, a folkloric dance school teaching the ninas how to do the old time dances and doing a pretty good job of it. So between bouts of fighting crime Lloyd was keeping company with his coy mistress.   

Better that Terror Street but not as good as The Black Glove although it can’t get pass that Blue Gardenia second tier in the film noir pantheon. Sorry Hammer.