Roadblock (1951)

As Good As It Gets

This story has more twists and turns than a second-rate soap opera.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

. . . mercenary hard-boiled killer "Diane" explains to her law enforcement simpleton patsy "fall guy" (aka, "Joe"). ROADBLOCK provides just enough "back story" about Diane's devious detours for viewers to conclude that her reason-to-be is the Corruption of Innocence while prodding men to kill each other. This distaff version of OTHELLO's nemesis, Iago, weaves around America, wantonly wielding her wiles against such "soft targets" as detectives, private eyes, and special agents. During ROADBLOCK's main story line, demonic Diane drags Joe down the Road to Perdition (i.e., the dry concrete of the Los Angeles Riverbed). Not satisfied until she feels Joe's final heartbeat sputtering out within her stranglehold, Diane is then pictured strutting down the vast vacuous void (which symbolizes her empty soul), in search of fresh meat. Diane leaves only a trio of dead men in her wake at the close of her ROADBLOCK rampage, so it's highly likely that she's now "loaded for bear," and gunning for many more victims during her next go-round.

Charles McGraw (Joe Peters), Joan Dixon (Diane), Lowell Gilmore (Webb), Louis Jean Heydt (Harry Miller), Milburn Stone (Egan), Joseph Crehan Thompson), Janet Scott (Mrs MacDonald), Dave Willock (airport clerk), Dewey Robinson (Mike), Joe Forte (Brissard), Barry Brooks, Frank Marlowe (policemen), Ben Cameron, Joey Ray (hoods), Martha Mears (nightclub singer), Harry Lauter (Saunders), Jean Dean (airline hostess), Phyllis Planchard (Bobbie Webb), Steve Roberts (De Vita), Dave McMahon (police radioman), Howard Negley (police captain), Peter Brocco (crook in cemetery), Richard Irving (Partos), Clarence Straight (Talbot), John Butler (hotel clerk), Taylor Reid (Green), Harold Landon (nightclub bartender).Director: HAROLD DANIELS. Screenplay: Steve Fisher, George Bricker. Story: Richard Landau, Daniel Mainwaring. Photography: Nicholas Musuraca. Film editor: Robert Golden. Art directors: Albert S. D'Agostino, Walter E. Keller. Set decorators: Darrell Silvera and Jack Mills. Costumes designed by Michael Woulfe. Music: Paul Sawtell. Music directed by Mischa Bakaleinikoff. Song, "So Swell of You" (Mears), by Leona Davidson. Assistant director: James Casey. Sound recording: Frank Sarver, Clem Portman. RCA Sound System. Producer: Lewis J. Rachmil.Copyright 24 July 1951 by RKO Radio Pictures, Inc. No recorded New York opening. U.S. release: 17 September 1951. Australian release: 4 January 1952. 73 minutes. SYNOPSIS: Hardboiled insurance investigator falls for gangster's moll. PRINCIPAL MIRACLE: The surprisingly competent job of direction handed in by little-known Harold Daniels. Particularly exciting and well staged is the climactic chase along the Los Angeles riverbed. Between 1943 and 1965, Mr, Daniels directed no less than fourteen other movies, all of little significance. In fact, the only one that fans would recognize is the 1961 TV feature based on Lee Falk's "The Phantom."COMMENT: This late entry in RKO's film noir cycle deserves to be better known. Charles McGraw of "The Narrow Margin" becomes even more interestingly abrasive on the wrong side of the law, whilst Joan Dixon makes a most convincing femme fatale. As the principal heavy, Lowell Gilmore provides a fascinating light touch which contrasts well with the usual demonic portrayals. Louis Jean Heydt proves just right for the thankless role of Mr Honest, and there are the usual top character turns from such as Peter Brocco, Janet Scott and Dewey Robinson. The story (from the pen of none other than Daniel "Out of the Past" Mainwaring) not only presents a trio of involving principals but moves at a fast clip right up to its shattering climax. Production values are solid and the movie is beautifully photographed in typically noir style.

Charles McGraw, (Joe Peters) is an insurance detective who investigates cases that involve stolen money and heavily insured items that are being transported from one place to another. One day at an airport he meets up with a very pretty gal by the name of Diane, (Joan Dixon) who flirts with him and just so happens to sit next to him on the plane going to Los Angeles California. Diane tells the airline personnel on the plane that she is Mrs. Joe Peters which alarms Joe because she is not his wife and then he learns she said this in order to obtain a half fare on her trip to California. The plane runs into bad weather conditions and they have to stay in a hotel in Missouri which the airline provides. This story has many twists and turns and there are many roadblocks set up to trap these two lovers. Enjoy.

"Detour" is far more famous. And it's probably better. But this strange little movie moves as inexorably to a terrible end as "Detour" does.Charles McGraw was an excellent actor. He is fine here as "Honest Joe" Peters. He encounters Diane, a woman he never ought to have encountered, on a plane ride. He is a straight-arrow insurance investigator. She is looking for a rich man. She knows he isn't rich and she is not really painted as a villain.Joan Dixon plays Diane in a deadpan manner. She is pretty and has a soft, rather high voice. Maybe she was someone's idea of an Elizabeth Taylor lookalike. There are similarities.Everything is understated. Yet it's a tough movie. And it's powerful, and sad.