The Fast and the Furious

An escaped killer kidnaps a girl, steals a roadster, and escapes by joining a road race to Mexico.

Well, the movie does make me nostalgic for years ago when a teen in our town rode around in his Jaguar XK like it was a royal coach. Of course, to the rest of us, it was. Anyhow, unless you like vintage sports models and fast cars, skip this otherwise turgid production. Corman shot it in 9 days and it shows. There's plenty of riding around the scrubby LA area, plenty of clumsy process close-ups, an awkward on-again off-again script, and maybe one interior set. In compensation, however, there's the incomparable Iris Adrian doing her patented cheap waitress bit.

I'd love to know what this meagre effort cost the notoriously pinch-penny Corman. He had a real coup, however, getting the luscious Malone, then on the brink of an A-film career, Battle Cry (1955), Written on the Wind (1956). Heck, she even lets her face get dirty. But you've got to hand it to our drive-in impresario. Corman quickly caught on that there was an untapped teen audience out there looking for just such things as silly stories, fast cars, and half-clad women. F and F stands as a stumbling early entry in that direction. His notorious rubber monsters and alien invasions would come later.

Frank Webster, (John Ireland) is a truck driver and is accused of killing another truck driver by driving him off the road and John breaks out of jail and finds a diner to eat and meets up with Connie Adair, (Dorothy Malone). John's identity is questioned in the diner by a man and is very suspicious of him and John knocks him out and grabs Connie and takes off in her sports racing jaguar. Connie and Frank go for very speedy rides through out California to Mexico and they even enter a car race with the police following them all the way. Connie & Frank manage to get along after fighting with each other all the time and there eventually becomes a romantic relationship between the two of them. John Ireland was also the director of this film and Dorothy Malone looked very young and attractive and they both gave an outstanding performance in this black and white B Film by Roger Corman.

This may be one of very few opportunities to see real racers in real race cars on a real - late and lamented - racetrack. Pebble Beach was an early Mecca for road racing fans, and while there are some discontinuities and incongruous events in the story, some of what is shown on-screen will be of value to motor sport historians, who should be able to identify the drivers and cars. As a novelty, perhaps, but valuable.

John Ireland and Dorothy Malone went on to do some creditable work, and are not bad here, but to be honest, they don't have that much to work with. Not entirely a time-waster, at any rate.

Surprisingly solid production with an obviously very low budget (this was producer Corman's first film, I believe, and he is true to form). About a man on the run who kidnaps a lovely lady in a sports car. Of course, she falls in love with him when he gives her a picnic. Strictly stock footage and poor rear-projection for the race scenes. Some nice touches in the dialogue. It's actually surprising that this film emerges as watchable, but it even ends up being likeable. Well, it took me years to find it, but I can't say I ever expected it to be any good, so I guess I wasn't disappointed. First film for American International Pictures (then known as American Releasing Corporation or ARC, under the auspices of the infamous Alex Gordon, Jim Nicholson, and Sam Arkoff), whose only producers at that time were Gordon, Corman, and (eventually) Herman Cohen, if I got all the names right. Anyway, as most drive in fans know, these guys changed the world of movies, and I guess this little film is where it all started. Well, fast cars and girls in danger is a good film formula, so I guess they didn't pick a bad place to start off.

You have to be kind of cruel not to give this film points for efforts. Despite an o0bviously low budget and tight schedule, Everyone involved in the film is making a real effort to give us a brief wild ride into the inner torment of a good man done wrong. The emphasis here on social class is especially striking, and the temporal tie that wraps the film - film begins when escaped con commandeers car to run away, ends when he leaves it to stop running - drives a remarkably even pacing throughout. John Ireland turns in a great performance (and is given co-directing credit), Roger Corman proves he can deliver for less, and compared with other cheapies of the time, much of the film has a real polish, overcoming flaws critics rightfully notice. Finally there is the script, with strong dialogue throughout. A film that looks lovingly backwards on film noir (but also with respect on Hitchcock's "39 Steps" from which the core relationship between Ireland and Malone is borrowed), and cautiously forward to the JD movie, which was only beginning to develop into a genre of its own. Actually, a remarkable achievement from all concerned, better than average b-movie of its time.