Private Hell 36 (1954)

 ☆ ☆ ☆

Private Hell 36 (1954) – D. Siegel

Despite starting his career as a “montage” specialist in the editorial department (and notwithstanding his long association with Clint Eastwood in the ‘60s and ‘70s), I find Don Siegel to be among the least flashy of directors (Eastwood himself follows in his mentor’s footsteps).  Private Hell 36 could just as easily be a TV production with its plain sets and matter-of-fact staging, camerawork, and direction. The editing serves the function of telling the story straightforwardly, without distraction, because I didn’t notice it. Perhaps this basic invisible approach to craft by Siegel allows the story to take centre stage: substance over style.  Here, L. A. cops Steve Cochran and Howard Duff stumble onto $50 bills from a NYC robbery now being circulated in the West.  They trace one to Ida Lupino, a bar singer, who eventually agrees to work with them to collar the fellow who passed it to her, a man who spends time at the races.  There’s a fair bit of legwork and staking out. Eventually, though, Duff and Cochran reach a moral crossroads and a choice which places stress on their relationship, with added pressure for Duff (a family man under financial strain at home) and Cochran (who falls for Lupino and her expensive tastes).  The title references the number of a trailer home, perhaps the most clever thing about the film, which nevertheless does build up a fair amount of tension, as the screws tighten on the characters.