13 West Street

I saw this film with my dad at the now long gone Miami Theater on Flager Street in Downtown, Miami, Florida when I was a kid. I remember it being in black & white, and that Alan Ladd looked tired and worn out. But, if you're a fan of Ladd, this film is a must-see. Again, as is the case for most fading, washed-up actors, even though the film is third rate, the script fair, and the budget no-where to be seen, Ladd gives a talented performance. It's far from his best(Shane), but you can see that he's giving the best-he-can, with what he had left. Only about 50 here, he looks to be in his mid-60s. However, he still had that lean, trim, build, and that look of confidence. A fine supporting cast adds to this out-dated period piece. Made in 1962, it is corny stuff, but surprisingly was a prediction of the "senseless" violence to come. Better than you'd think.

After doing the horrific Duel of the Champions in Europe, film offers were not inundating Alan Ladd any more. He was probably lucky to get this one which in fact he produced for himself.

13 West Street is an unpretentious drama about a 40 something man, a successful guy, an aerospace engineer in fact, who takes a wrong turn on the way home and runs into a gang of punks led by Michael Callan. They beat him up, really without any reason or provocation as punks are wont to do.

Alan Ladd is our victim and Rod Steiger is the detective from the juvenile division assigned to his case. Like Charles Bronson in Death Wish, Ladd is not real happy with the progress and starts investigating on his own. It leads to two deaths as byproducts in his pursuit of vengeance.

Dolores Dorn is good as Ladd's wife who doesn't like the changes in her husband. Ladd does give a good account of himself as the middle-aged man he was. Possibly he and Sue Carol realized finally he was no longer believable as an action hero.

Sad that the realization came too late because there was only one more film left in the career of Alan Ladd.

I had fairly low expectations going into this one, but the film quickly churns into full noir-ish life as one of the last of what was to be a dying breed of movie--a psychological thriller pulling us close to the world of the always fascinating Alan Ladd as he runs head on into forces beyond his control. (I disagree that Ladd's personal problems detract from his performance at all. In fact to me the intentional darkness of the mood is simply strengthened by Ladd just as he was able to do in a dozen other gripping dramas both large and small. This is a "small" drama, to be sure, but none the less intense and intriguing.

A plot theme emerges here treated the way a great noir director of the 40's might have treated it--pathological youth violence, a real social problem often glossed over {Rebel Without A Cause, for example) or in later 1960's films glamorized and turned into the iconic images for a new generation.

But here it is--stark, vicious, mindless, and cruel just because people can get away with it. This is a brave and unflinching film and a real treat for those who appreciate the genre. Keep your expectations modest and it will surprise you quite happily!

Alan Ladd, Rod Steiger, Michael Callan, and Delores Dorn star in "13 West Street," from 1962.

This was Alan Ladd's last starring role, and, frankly, it was heartbreaking to see him. He looks all washed up and shows the effect of his alcoholism. He plays an aeronautics engineer. Walt Sherrill, who comes up against some juveniles and is badly beaten by them, left with a broken leg, a concussion, and other injuries. The biggest injury seems to be to his psyche.

Dissatisfied with the progress of one Detective Koleseki (Steiger), Sherill hires a private detective (Stanley Adams) to help track down his attackers. The kids seem to be from a good school and good families.

It's not long after he returns from the hospital that he and his wife (Dorn) begin to receive threats, warning them not to continue the investigation. Sherrill is driven to take the law into his own hands, to the consternation of Koleski and Mrs. Sherrill.

Juvenile delinquency was a hot topic in the 1950s. Of course, what was considered juvenile delinquency then - souped up hot rods, talking back to parents and teachers, and chewing gum, seems like good etiquette now. Here, Michael Callan, Chris Robinson, and Arnold Merritt are spoiled kids whose parents let them get away with murder. Landry (Callan) is the one with no conscience, and he has control over the other kids.

Of interest to me was the Mrs. Cleaver concept of Ladd's wife, Dorn, and the mothers - Jeanne Cooper and Margaret Hayes - being impeccably dressed mid-day and not seeming to do much other than relax by the pool or mixing a drink.

Rod Steiger is excellent as a careful, calm detective who doesn't get rattled easily; beauty pageant winner/stage actress/acting teacher Delores Dorn is lovely as Sherrill's wife.

Alan Ladd had a short but very successful career. He had a Grapes of Wrath childhood, he watched his mother poison herself and die, he was of small stature - that he became such a star, had a family, and made it to 50 was a miracle. He left a strong legacy. That's how I want to remember him.

It was not very long into viewing this film that Alan Ladd was at the end of his career in Hollywood, his problem with Alcohol were starting to get the best of him in his eyes and face and even makeup could not hide the demon's he was facing in real life. Walt Sherill,(Ladd) plays the role of an aerospace engineer and very successful and married to his wife, Tracey Sherill, (Dolores Dorn) in a very nice home in the suburbs. One night as Walt is leaving his office he runs out of gas and starts to walk to a telephone when he is almost run down by a speeding car driven by delinquent juveniles. Walt yells at them and they proceed to go back to Walt and beat the living day lights out of him. It is from this point in the film which becomes very interesting and Rod Steiger, (Det. Sergeant Kileski) gives an outstanding supporting role which makes this picture a success. It is sad to say that this was Alan Ladd's last starring role in Hollywood and two years later he passed on to a greater stage.