I, the Jury

A gun fires through a half-opened door. A one-arm dying man crawls towards the camera while the chair where his prosthetic arm lies moves back unabling him to reach it. In the next scene a man climbs up the stairs to find his army pal shot dead. This is the first Mike Hammer film in 3D and must be seen in 3D to really appreciate its quality. Fortunately there is an exceptionally well restored 3D version that makes of this film a rare noir gem. John Alton photography is breathtaking, especially in the zenithal shots - view from the top of the Bradbury Building (that has appeared in many other films such as D. O. A.) is simply stunning in 3D - and use of shadows. Light contrasts are superb. Although Alton won an oscar for An American in Paris his photography work for black and white movies is powerfully shocking.

No "tricks" here like a fire torch splashed into the camera eye. Any 3D detractor should watch this movie. Not the usual 3D method of emphasizing certain elements and relegating others was employed but all of them are in relief instead. The opening scene with the firing gun is maybe the only license to that use. The result it is an exciting watching experience that brings the whole set to life by highlighting every single element. 3D experience upgraded.

As for the cast, Biff Elliot plays decently although wooden a tough, rude and violent Mike Hammer, boxer- type (he had been a boxer himself in his youth). Peggie Castle plays a psychoanalyst and does an excellent femme fatale, Preston Foster has a small but solid role as a police captain and Margaret Sheridan is the ever- efficient Hammer secretary (Perry Mason's Della Street type). Role of the dead man was played by real life single -handed Robert Swanger in his only screen appearance.

Based on Mickey Spillane's book I, the jury some facts were changed - cocaine traffic to jewelry smuggling, twin sisters' nymphomania and Hammer's final shot from spontaneous to in response to be almost killed.

Special mention for the 3D-inside-3D view-master type shot surprise gem. This scene only makes the movie worth watching in 3D only and an enjoyable experience for any 3D and view master fan. Do not miss it.

I got the chance to see this film today in a movie theater in its original 3-D glory. And WOW- not NEARLY as mediocre as you've heard. The audience LOVED it- what WAS bad dialogue is now hysterically camp. Biff Elliot (the screen's first Mike Hammer) was in attendence, full of vigor at age 80. A charming man, some wonderful anecdotes about his Hollywood experiences, but in his first film, he doesn't cut it. However, the supporting cast is wonderful- Peggy Castle is not only beautiful, but does a wonderful film noir dame. And my almost-Mother-In-Law Margaret Sheridan turns in outstanding support as Mike's secretary Velda...sexy & wise-crackingly smart(she retired in the early 60's to be a housewife and mother to two daughters- unfortunately, she passed away from cancer in 1981). A lot of "B" stars show up, like Elisha Cook Jr. and Joe Besser(the great tie-in to Joe was the 3-D Three Stooges short PARDON MY BACKFIRE which was also shown). And, as for the 3-D, it was rarely shown in that format, and the print shown was definately worn by time, but while there was no mandatory "throw it in your face" shots, the 3-D emminently added to the film's mood, with some wonderful photography, especially in L.A.'s Bradbury Building. I will definately check this one out again, albeit in it's "flat" version!

This 1953 film is the first screen depiction of Mickey Spillanes famous detective character Mike Hammer and the only "film noir" I know of that was filmed in 3D. Other than that and the films memorable closing and opening scenes, this film isn't much. Most the cast is good, but the problem lies with the totally mis-cast Biff Elliot as Mike Hammer. He is to young and boyish looking. Ideally, Mike Hammer should be played by someone in their mid thirties or forties; old enough to have grown jaded and world weary, but still young enough to woo the babes and take the punches. Biff Elliot looks and acts like he just got out of detective school. Parklane productions blew it by casting Elliot, who not only wasn't the right type but an actor who never had any screen presence. No wonder he mostly never got more than bit parts after this. Being the first actor to play Mike Hammer is about the only role anyone recalls when his name comes up. Parklane did right in the next Mike Hammer film by casting Ralph Meeker. Even Robert Bray (MY GUN IS QUICK) made a more convincing Mike Hammer. In fact, even Armand Asante was better.

Quite a surprise, this one, based on the Mickey Spillane book, done very much in the film noir style and shot in 3-D! Actually watching this flat it is only the opening with the dying man crawling towards the camera with his hand reaching forward that I was aware of the 3-D origins and we are swiftly on to an absorbing thriller. Not as tough and sexy as the book but a really decent effort with some super shadowy location filming. Biff Elliot, of whom I had never heard, is fine in the lead, if not sensational but the crackling dialogue and constant action keep things moving along nicely while Peggie Castle is great as the femme fatale. Low budget and maybe nothing too special but tight and bold. Very likable.

In 1953, I, The Jury became the first of Mickey Spillane's Mike Hammer series to hit the screen, but it takes its cues from movies of 1947, when the book hit the kiosks. The yuletide cards serving as scene dividers, the violence counterpointed to Christmas carols recall The Lady in the Lake, while the duplicitous female psychiatrist reprises Helen Walker's Dr. Lilith Ritter in Nightmare Alley (the final, fatal tryst comes from the even earlier Double Indemnity).

These echoes may have been attempts to invest Hammer with some respectability, linking him to the more subtle and textured characters of the 1940s. It's clear something had to be done with him, because Spillane went for raw sensation in a way that caused a sensation of its own. His private eye is uncouth, short-fused and randy but misogynist, bowing to no authority save his own (hence the title). Spillane luckily or shrewdly had as readers of his punch-drunk prose men who had survived overseas combat and were making up for lost time in the footloose, post-war prosperity; he gave them not just sex and violence but sex-and-violence.

So in one sense, Biff Elliott makes an ideal Hammer, closer to Spillane's lout than his (relatively) spruced-up successors Ralph Meeker and Robert Bray (plus Armand Assante, in the marginally better 1982 remake of this title). He comes across as a Dead End kid grown up with a license and a gun, slow-witted but fast with his fists and his trigger.

When his best friend, an insurance investigator and combat amputee, gets himself coldly killed, Hammer scours New York to avenge him. The urban locales bring out the talents of director of photography John Alton, who here tried his hand at the 3-D process (thus I, The Jury, along with Man in the Dark, The Glass Web and Second Chance, becomes one of the few noirs so filmed).

The shoot-from-the-hip action, however, rides roughshod over any intricacies of the plot. Characters Hammer encounters stay generic, with the exception of Peggie Castle as the shrink. The film's last scene is hers, not Elliott's, as she moves into a languorous striptease that comes to a quick finale. For better or worse, it's an emblematic image that showcases Spillane's coarsened sensibility, his fusion of brutality and eroticism, and spells an end to the more freighted ambiguity that was a hallmark of the noir cycle.