This begins like a Dragnet-type police procedural with a long narrated segment on automobile accident statistics, but once the story kicks in, it becomes a traditional human-interest police drama. The acting is variable: Meeker can't do much different with his character as written, but he's compelling enough; Horton is a bit on the bland side—again, partly due to his bland character; Richards is good in a role that doesn’t give him much shading. Keenan Wynn is fine as the guy who puts his own reputation on the line for Meeker. As is par for the course, the women fade into the background, and the strongest connections are between the men. Keep your eyes peeled for a young Chuck Connors in a small role as a cop. Though predictable, the finale really is worth sticking around for. Pictured, left to right, are Meeker, Horton and Richards. [Warner Archive Instant]
Friday, May 08, 2015
CODE TWO (1953)
This begins like a Dragnet-type police procedural with a long narrated segment on automobile accident statistics, but once the story kicks in, it becomes a traditional human-interest police drama. The acting is variable: Meeker can't do much different with his character as written, but he's compelling enough; Horton is a bit on the bland side—again, partly due to his bland character; Richards is good in a role that doesn’t give him much shading. Keenan Wynn is fine as the guy who puts his own reputation on the line for Meeker. As is par for the course, the women fade into the background, and the strongest connections are between the men. Keep your eyes peeled for a young Chuck Connors in a small role as a cop. Though predictable, the finale really is worth sticking around for. Pictured, left to right, are Meeker, Horton and Richards. [Warner Archive Instant]
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