Kansas City Confidential [DVD] [1952] [Region 1] [US Import] [NTSC]

KANSAS CITY CONFIDENTIAL,1952,black and white,is another classic Film Noir,that is so well acted by the entire cast. Stars-JOHN PAYNE-COLEEN GRAY-PRESTON FOSTER-NEVILLE BRAND-LEE VAN CLEEF-JACK ELAM-DONA DRAKE-MARIO SILETTI.
Three heavies,Kane,Tony,Harris,[Brand,Van Cleef,Elam]are involved in a million dollar bank robbery,that has been masterminded by Tim Foster[Preston Foster],a bad ex-cop,but he's also going to double-cross his partners in crime and frame an innocent man for the bank heist. Joe Rolfe[John Payne]is his planned innocent victim,a truck driver. To prove his innocence Joe tries to clear his own name and seek his vengeance on the crooks who framed him. While doing so,Joe meets and falls in love with beautiful Helen[Coleen Gray],who is the daughter of the corrupt ex-cop Tim Foster. The crooks all end up down in Mexico,Joe follows them,and amongst beatings from the three vicious thugs,he gradually sorts them out.
Great acting by all cast members,and especially by the three heavies-Neville Brand,Lee Van Cleef,Jack Elam,-these guys were just brilliant in so many Westerns and Film Noirs.
Regards,Bill.

Kansas City Confidential (AKA: The Secret Four) is directed by Phil Karlson and written by George Bruce and Harry Essex. It stars John Payne, Preston Foster, Coleen Gray, Neville Brand, Jack Elam and Lee Van Cleef. Music is by Paul Sawtell and cinematography by George E. Diskant. Plot sees four robbers hold up an armoured truck and get away with over a million dollars. Sadly for everyday, ordinary Joe Rolfe (Payne), he's set up and accused of being involved in the robbery. But he wont take it lying down, and promptly calls upon his dark half to seek out the actual culprits himself.

"In the police annals of Kansas City are written lurid chapters concerning the exploits of criminals apprehended and brought to punishment. But it is the purpose of this picture to expose the amazing operations of a man who conceived and executed a "perfect" crime, the true solution of which is "not" entered in "any" case history, and could well be entitled "Kansas City Confidential".

Produced by Edward Small, Kansas City Confidential is believed to be the only film released out of Small's own Associated Players and Producers studio. Still, if you are going to only have one film on your studio résumé, you have to be thankful that it's a little belter. More B movie grit than film noir flecked nastiness, Karlson's movie is lean, mean and structured with knowing skill by the director. From the tremendous tension fuelled opening of the heist planning and execution, through to the deadly payoff at the finale, film is awash with knuckle slappings, shifting identities and the turning of the protagonists psychological make up.Were it not for one of "those" endings, and the telegraphing of optimism slightly shunting the pessimistic atmosphere out of the headlights, this would undoubtedly be far more revered and better known in film noir/crime movie circles.

First thing to note of worth is the cast assembled for the picture. Payne was already leaving behind his formative acting years in family fare like Miracle On 34th Street and Footlight Serenade, reinventing himself as a dramatic actor in films such as The Crooked Way. He's a perfect fit for Joe Rolfe, an ex con war veteran down on his luck, he has his everyman qualities pummelled out of him by the police, so much so he has to turn bad to prove he's good! The change is believable in Payne's hands, his face that of normality in the beginning, but latterly icy cold and untrustworthy. A trio of B movie stalwarts make up the thugs gallery. Jack Elam is sweaty and worm like, Lee Van Cleef is snake faced and pulsing bad attitude, and Neville Brand exudes borderline psychotic menace. Unfortunately Preston Foster as the "boss" man is not altogether convincing, but in a film where characters are not always what they seem, it's doesn't hurt the film.

Coleen Gray shows a nice pair of legs for the boys, but with Karlson not bothered about fleshing out the romantic and flirting aspects of her relationship with Payne, she exists only as a secondary cog between Payne and Foster's characters.This is no femme fatale character. No sir. Music is standard fare and Diskant's photography only fleetingly shows some noir flourishes.But with two fist fulls of grit from which to punch, and some boldness in the narrative involving police brutality, Kansas City Confidential comes out as one of the better B ranked crime movies of the 50's. 8/10

Is Kansas City Confidential a noir? Some critics think so. Some have even gone so far as to praise the movie. For me, the film is just one more B-level programmer, churned out in the thousands during the Forties and early Fifties to fill out double bills. The one thing it has going for it is a clever plot idea that combines a crime caper with a resentful Mr. Big who disliked being placed on forced retirement. Is that enough to take the premise seriously? I don't think so, but the way the payback for the retirement is planned and carried out isn't bad.

The movie turns on two plot pivots. First is a bank heist. Three tough guys are recruited by Mr. Big, who wears a mask. He makes the others wear masks, too. Only Mr. Big knows who everyone is. Their getaway leaves behind an innocent patsy, Joe Rolfe (John Payne), a war hero who once got in trouble with the law. After the Kansas City police try to beat a confession out of him, they realize they have the wrong man and let him go. Joe gets mad and decides to track the robbers down.

The second pivot centers on a small Mexican resort village where Mr. Big and the three accomplices have gathered, months later, to split the loot. Joe has taken the identity of one of them, Pete Harris. Joe had tracked Harris down and was forcing him to go together to the resort. By coincidence, Harris was gunned down by police at the Tijuana airport while Joe was at the ticket counter. Complicating things is Tim Foster (Preston Foster), a retired police captain from Kansas City who likes to fish, and his daughter, Helen (Coleen Gray). Helen, soon to pass her bar exam, showed up unexpectedly to visit her father. We're often reminded that there is a substantial reward for whoever captures the crooks and finds the money. There are beatings, slappings, double crosses, cold-blooded murder, noble sacrifice and a promised happy ending for Joe and Helen. A lot goes on, but it's something of a slog to get to Joe's and Helen's big kiss.

Second bill programmers were most often noted for only adequate acting, workmanlike but often clunky scripts, music scores that telegraphed what we were supposed to be feeling and the barest budgets the studios could get away with. This didn't mean that the movies were bad, just that there needed to be something -- an occasional standout script, or a solid actor, or an unusual concept or mood -- to make the movie worth remembering. With Kansas City Confidential we have, to my way of thinking, just two things that stand out. First, is that clever plot idea. Second, are the actors who play the three goons recruited by Mr. Big. There's Neville Brand playing Boyd Kane. Kane is dumb and violent. Brand's tough features and rough voice make him believable. There's Lee Van Cleef as Tony Romano, smooth and sleazy...not a guy you'd want to leave your daughter alone with. And there's Jack Elam as Pete Harris, a sweaty chain smoker, a squirming coward unless he's holding the gun. With Harris, you can almost smell his cigarette breath and body odor. Elam really does a fine job. But then we have John Payne as the hero. Payne, in my opinion, was a handsome, colorless, reactive actor. He acts tough, but it's as phony as Robert Stack acting tough in House of Bamboo. While I doubt even Bogart or Cagney could do much with lines like this, "I know a sure cure for a nosebleed: a cold knife in the middle of the back," Payne just looks irritable when he says it. Coleen Gray doesn't help much; her job is to be perky and sympathetic, almost in spite of the dialogue: Says Joe Rolfe, "Look, you're a nice girl, but in case you're thinking of mothering me, forget it! I'm no stray dog you can pick up, and I like my neck without a collar. Now get lost!" Says Helen, "Now I'm supposed to be hurt. Maybe even cry. But I won't. I think you're in trouble, and I'm going to help you!"

My advice: Watch it and learn what programmers were about. You might find you like it well enough. The film is in the public domain. The Image version is so-so; too dark and with too much contrast. It's not as bad as some public domain releases are. There are a few extras, including a cream-puff interview with Coleen Gray by noir specialist Eddie Muller. He also provides liner notes for an insert in the DVD case.