I guess I should be grateful you haven’t murdered me yet. – The Fast and the Furious (1954)
The Fast and the Furious (1954)
Today’s film is a classic Film Noir. I’ll be frank, I picked it because of the title. It also features Dorthy Malone and John Ireland. It was produced by Roger Corman, so I thought, how bad can it be? Well? We’ll leave that question for later.
Hello to all of the classic people that are returning. I am glad you are back. I want to welcome any new visitors. Today on Classic Movie Review, we are taking on The Fast and the Furious (1954).
This film has a 5.4 rating on iMDB.com[1]. It fares no better on Rottentomatoes.com, with no Tomatometer score and only 47 percent audience approval[2]. This movie is not really that good. Dorthy Malone is lovely to look at, and John Ireland makes a convincing tough guy.
When the film was released, a Variety review stated that the film consisted of “High-priced sportscar bombs furnish most of the action,” and the stock footage became very repetitive.[3]
A more contemporary review by film critic Leonard Maltin panned the film, saying it was an “uninspired romantic interludes and cops-on-the-chase sequences.” [4]
This movie struggled at the box office and was often the second of a double bill and only received $25 per booking. This film’s real legacy is its effect on Roger Corman and American Releasing Corporation, later renamed American International Pictures. I will go over this in the conclusions and the famous name of the film.
Actors – The Fast and the Furious (1954)
Returning
John Ireland not only played the fugitive Frank Webster, but he also directed this film. Ireland was first covered in the John Wayne classic Western Red River (1948).
Dorothy Malone played racer, Connie Adair. Malone was first covered in another great Western, Warlock (1959).
New
Iris Adrain played Wilma, the waitress. Adrain was born in 1912 in Los Angeles. With a career spanning over six decades, she acted in over 160 movies, making her a prolific supporting actress in Hollywood during her time. Her funny, witty personality and unique femininity helped her stand out in the industry.
Adrian started her career as a dancer, making her debut on Broadway in the Ziegfeld Follies. She then transitioned into the film industry, debuting in the short Chasing Husbands (1928). However, her role in Our Relations (1936) with Laurel and Hardy established her in the industry.
Throughout the 1930s and 1940s, Adrian appeared in several popular films and film noirs, such as Gold Diggers of 1937 (1936), Roxie Hart (1942) with Ginger Rogers, and Film Noir The Woman in the Window (1944) with Edward G. Robinson. Her ability to play various characters, from waitresses to gangsters’ molls, made her a versatile actress.
In the 1950s, the quality of roles offered to Adrian declined, and she turned to making television commercials. However, her career picked up again in the 1960s, with directors recognizing her as a Hollywood institution. She made cameos in popular films such as The Odd Couple (1968), The Love Bug (1968), The Apple Dumpling Gang (1975), and Herbie Goes Bananas (1980).
Adrian’s career included many Disney productions, and she played almost exclusively for Walt Disney before retiring at 82. Some of her popular Disney films include The Shaggy Dog (1959), That Darn Cat! (1965), and The Love Bug (1968).
Adrian died in 1994. Never a star, she was certainly right there.
Story – The Fast and the Furious (1954)
This movie begins with a clip from Thieves’ Highway (1949). The clip shows Ed Kinney, played by Millard Mitchell, losing control of his damaged fruit truck and crashing down a hill resulting in his death. They wove it back into the story a little later, but it seemed out of place before the credits rolled.
More stock scenes of road rallies or racing cars are shown. These cars are the type with two seats and an open top, most often associated with European road races.
A blonde woman, Connie Adair (Dorothy Malone), is shown driving a Jaguar XK120 up a winding mountain road. She pulls into the gravel parking lot of what would seem to be the worst eating experience possible, the Saddlepeak Lodge Cafe.
As soon as Connie stops her car, she is set upon by Bob Nielson (Bruno VeSota), a truck driver. However, the truck he exited from is a large panel van, not the fruit-hauling war surplus truck shown earlier in the crash sequence.
Bob invites Connie to eat with him, but she rudely rebuffs the rotund man. Bob gets all butt hurt and goes inside. Inside, there are only four seats, and one is already occupied. So Bob ends up sitting next to Connie anyway.
The waitress, Wilma Belding (Iris Adrian), is yammering on to no one in particular. Connie orders an egg salad sandwich and a glass of pineapple juice. Wilma tries to get Connie to change her drink, but Connie insists.
Bob asks Connie if she has raced the car and if she is going to the race going from California to Mexico. Connie replies that she is indeed entered in the race. This gets the attention of the third customer, Frank Webster (John Ireland). However, we don’t know his name or back story at this point in the movie.
Webster looks out the window at Connie’s car. Wilma returns but without any pineapple juice. She goes into a tirade about a man that broke out of jail near Coachella. She continues that Webster was arrested for killing another trucker. The man escaped from jail and is being hunted by the law.
Bob chimes in that he and all of the truckers are looking for Webster. He basically says that Webster will not be brought in alive. Wilma mentions that there is no picture of Webster.
Webster pays, and Connie sends Wilma to the back for the pineapple juice. Bob offers Webster a ride and then starts quizzing him about his name and where he’s from. Bob gets suspicious and pulls a revolver on Webster. Webster starts to pull out his wallet, and Bob raises the gun to hit him on the head. Webster beats Bob, who receives a head injury when he hits the bar foot rail.
Webster takes the gun and drags Connie outside with him. Using the gun, he gets her car keys and drives away with Connie as his hostage and a possible way to get to Mexico.
Wilma returns to see Connie and Webster gone, and Bob lies on the floor near death. Wilma calls the police and reports a murder. Webster drives pretty well until he spots a cop car ahead, going the same direction as he and Connie.
When Connie sees the cop car, she rises in her seat. Webster grabs her and pulls her head close to his chest with his hand on her mouth. What is supposed to be a snuggle looks like an attempt to break her neck. He tells her that he has bullets for her and the cops.
After the cop is gone, he tells her he likes quiet women and that she should be that way. Connie says they should fill up with gas before nightfall. Webster thinks it is a trick until Connie teaches him how to look at the gas gauge.
They pull into an old fashion gas station where you get a fill-up, windows washed, and oil and tire pressure checked. Connie goes to the lady’s room and attempts to escape out the window. Webster catches her and foils the attempt.
The police arrive at the Saddlepeak Lodge Café with sirens blaring. The police say that Bob is still alive. Wilma says she was right there when Webster shot him. She wasn’t, and he didn’t. Wilma also claims that she identified Webster and tipped off Bob. The police now know Webster is traveling with a woman but tells them they are traveling in a jalopy.
Connie is indignant as her capture continues. Webster shows no sign of being anything other than a hardened killer. He says he will use Connie and her car to leave the country. Webster stops the car, and Connie attempts to escape. That seems to be the only reason he stopped.
Ahead, Webster sees a cop car and a cop motorcycle facing the direction they are coming from. He does a U-turn right in front of the cops but is unseen. He stops again, but this time to look at a road map. Webster heads the car up into the mountains as the motorcycle cop drives in their direction.
Webster handles the twisting roads pretty well until Connie turns the keys off and throws them away. Back in the day, you could turn a car off while it was driving.
The cop warns them for having a taillight out and then leaves. Webster fixes the taillight without tools. He takes Connie to search for the keys. She is very resistant. Finally, Webster hotwires the car before Connie gives him her spare key.
A nurse and doctor attend to Bob, who is in a coma from his head injury. The police try to get info from Bob but his unresponsive.
Webster finds a dirt road where he and Connie can spend the night. However, they don’t have any food or supplies. Webster ties Connie to the steering wheel with his belt. They exchange insults, and Connie slaps Webster. Of course, he kisses her but quickly stops.
In the morning, two motorcycle cops are on the road directly below Connie and Webster’s hideaway. On the radio, Webster hears a broadcast about the search for him. Webster sees the cops below.
He coasts the car down the hill and comes out behind as the cops are facing the other direction. Connie is angry and demands food. Webster is an excellent driver.
They come to a roadblock that is stopping regular cars and sports cars with numbers. Webster plans to fall in with the race cars and tells Connie to play along if she wants to live. He pulls the gun on her. The police let Connie and Webster get in the line of racing cars to be escorted through all the roadblocks.
Bob begins to wake, and the policeman is brought back into the room. Bob says jag. Slowly, the cop figures out that it may mean a Jaguar car.
Connie and Webster arrive at the park where the race will begin. These scenes were probably filmed near Pebble Beach. Webster asks for a break, but Connie refuses. Under the gun, Connie goes to register. The sign says California Sports, but the flags are from European countries.
The entire operation is being run by Race Marshal Hillman (Marshall Bradford). Webster tries registering Connie as the driver but is told that the group had previously decided to ban female drivers because the course is too dangerous. Webster says he will drive and uses stolen identification.
Hillman explains that the race’s first leg is in the park, as is the qualifying run. Stock footage is shown of race cars. Connie is allowed to go along on the qualifying run but will not be allowed to go along on the actual race. Connie is so hungry she almost pulls a sandwich out of the race marshal’s hand.
On the way to the qualifying run, Connie and Webster run into one of her beaus, Faber (Bruce Carlisle). Faber is pushy and suspicious of Webster. The pair head onto the track. Connie has Webster put on a racing helmet that seems to be a cross of an equestrian helmet and a desert French Foreign Legion hat. I’ll talk about this again in the conclusions.
Again, Webster shows he is a good driver, avoiding a truck on the road. Connie mentions that with his driving skills, he did not run the truck off the road by accident. Connie helps him refine his racing techniques. Webster mentions he has driven a tank. So he is a military veteran. He also says he stole a drunk’s identification while in jail.
A state police officer checks the racer names looking for Webster.
Webster turns in the second-fastest time, just behind Faber. That means in the race; he will start next to last. Connie gives him a hug as they cross the line.
Webster tries to leave the park with Connie, but a roadblock is ahead. Another driver tells Webster that they think the escaped criminal, Webster, is driving a Jaguar in the park with a young woman. Connie covers for Webster.
Connie directs Webster to a dirt road where there is an abandoned house. They go through the gate and drive to the rickety shack. Webster feels like Connie is helping him but doesn’t know why. She asks to hear his story. Connie is still hungry, and Webster reveals some food he lifted from the Race Marshal. They are getting very close, and she wants Webster to surrender. He says he can’t beat the small-town jury with the decision being made in advance.
Webster says he is a loner and bought a single truck after getting out of the Army. The owner of a larger trucking company began undercutting his prices and other things to drive him out of business. The driver that was killed was attempting to run Webster off the road when the crash occurred. Other drivers from the larger company arrived and accused Webster of murder.
This is a pretty common theme from Taxi (1931) with James Cagney to Thieves’ Highway (1949) with Richard Conte and, more recently, White Line Fever (1975) with Jan-Michael Vincent and Slim Pickens.
Connie almost has Webster convinced to turn himself in when a caretaker comes by and tells that the police patrol this area regularly as it is a lover’s lane for the younger set. Webster is mad again.
They leave the shack, but Connie tries to escape at the gate. Connie and Webster drive back into the park. When Connie sees Faber, she calls to him. Faber wants to go to the antique race and wants Connie to come along. Webster tags along.
The race has Maxwells, Stanly Steamers, and a Model T. At the race, Faber asks about the pit check for the race. Connie keeps Webster’s secret. The trio goes to the Concours d’Elegance in the park. They lean against a Rolls-Royce convertible that is owned by a Jack Milner. Jack Milner is the name of one of the film’s associate producers. Faber says that they are looking for a killer named Webster. Faber needles Webster until Connie stands up for her new friend.
Connie and Webster leave the car in the pits. As they walk, a friend of Connie’s invites the couple to a party. Webster backs out when they find out the friend’s father is a deputy. Connie is worn out and flops onto the ground. Webster gets her up, but they have to jump back in the bushes when a patrol car comes by. Webster forces Connie to keep going until she drops again. Webster sees a shack in the distance.
The pair hide out for the night in the shack. Webster still doesn’t trust Connie, and the pair have a fight and then a kiss. Webster confesses his love for Connie. In the morning, they are all snuggly and happy. Webster asks Connie to meet him in Mexico. He then locks her in the thinly walled building.
Connie attempts to break out and follow Webster but can’t get through the paper-thin door.
Webster picks the car up for the race.
Connie calls for help, but no one can hear.
Faber needles Webster at the starting line.
Connie finds some paper and builds a fire against the door of the building she is locked inside. I don’t think this is a very good idea.
The race begins.
Connie is rescued from the burning shack and given a ride to the race.
Faber and Webster are neck and neck. Producer Roger Corman drove one of the race cars and ended up winning the race resulting in the need for a reshoot. Webster steadily moves up in the pack as the race exits the park.
Connie gets to a phone and calls the police. She says to stop him at the border, and he is innocent. Connie runs to the pit area and borrows a racing car from a friend. Connie heads out to the main roads trying to reach the border ahead of Webster.
Webster leads through the mountains, followed and challenged by Faber. Connie races at top speed toward the racers.
On a narrow stretch of road near the beach, the police have built a barricade out of the thinnest wood possible. Webster drives right through and is fired at. Faber stops and is told that Webster is the man ahead of him. He boldly proclaims, “I’ll get him,” and speeds after.
Faber catches up with Webster and tries to force him off the road. However, Faber runs off the road and crashes. Webster stops and pulls the injured man out of the smoking car. Connie arrives in time to see the heroic act.
Connie says she called the police and set the shack on fire to escape. Webster says he is going back to face his accusers. As the sirens approach Webster says he has gotten used to Connie. They kiss.
Conclusion – The Fast and the Furious (1954)
First things first, Webster was charged with murder. To that would be added escaping from jail, theft, aggravated battery on Bob, and kidnapping. Since kidnapping is a state-level crime, Connie can’t decline to press charges. So, I think they will only see each other on visiting days for a long time.
Of course, this film is the first “The Fast and the Furious,” coming in long before The Fast and the Furious (2001) with its nine sequels/prequels and more on the way. Universal Pictures and producer Neal H. Moritz say they traded stock footage to Corman for the rights to use the name. Corman has stated that he retained the right to make numbered sequels with the title.[5] I guess that ship has sailed.
The real legacy of this film is that it was the first film for American-International Pictures (AIP) and the first time they worked with Roger Corman. Although this film did not do well at the box office, Corman was given a three-picture deal.
In an AllMovie review, Bruce Eder[6] stated,
“The Fast and the Furious (1954) was the movie that began Roger Corman’s business relationship with Samuel Z. Arkoff and James H. Nicholson, and their American Releasing Corporation (later American International Pictures). On that basis alone, it’s an important movie for establishing the link between one of the best low-budget filmmakers of the 1950s and ’60s and the distribution company that issued most of his best work from those same decades, as well as for helping to establish that same company…Corman initially had been unable to get John Ireland to star in the proposed movie for a fee below his normal asking price, but then Ireland came back and agreed to do it if he were allowed to direct it as well — as Corman needed a director anyway, as well as needing Ireland for his star power, he agreed immediately. Ireland proved to be more than competent in his debut behind the camera, and the resulting movie was one of the more exciting and satisfying B-movie action thrillers of its period.”
I am no filmmaker, having spent my career as an archaeologist instead. However, I feel like today’s film is a masterclass on cheaply making a movie. This movie was shot over nine days at the cost of $50,000.
So many money-saving techniques were used; I am sure I have only noticed a few. First, there was extensive use of stock footage and footage from other films, such as the truck crash. I also noticed that they used one camera setup for multiple shots, such as when the car when up the road to the first shack and came back down. Also, a shot was set of Connie and Webster hiding and the cops below, all from one camera position.
Webster (Ireland) was given a racing hat to match the stock footage in one set of clips. Many of the car shots, both in and out of the race, were done with rear projection. All of the scenes were composed very tightly. Much of the race story was shots just focusing on the announcer and part of the grandstands. The restaurant scene was set at a four-stool bar. Also, both cabins had very little extra set dressing. Finally, Bob was shown twice in the doctor’s care. The blocking was identical and could have been shot in a hallway.
World-Famous Short Summary – Was Webster driving to Burning Man?
This show is now completely free and independent, brought to you without ads. If you enjoyed the show, please subscribe and leave a review where you get your Podcasts. It really helps the show get found.
As a technical note, references and citations are listed for each show at classicmovierev.com.
Beware the moors.
[1] https://www.imdb.com/title/tt0046969/
[2] The Fast and the Furious – Rotten Tomatoes
[3] The Fast and the Furious (1954 film) – Wikipedia
[4] The Fast and the Furious (1954 film) – Wikipedia
[5] The Fast and the Furious (1954 film) – Wikipedia
[6] The Fast and the Furious (1954) – John Ireland | AllMovie
Leave a Reply
Your email is safe with us.