Union Station

Obviously modeled on Jules Dassin's superior THE NAKED CITY (1948) – co-starring Barry Fitzgerald, meticulous police procedural, filmed on actual locations – this film can certainly stand on its own two feet, being a tight and neatly-handled little thriller with plenty of action and suspense. Especially effective is a game of cat-and-mouse on a train between criminal and cop, which must have influenced THE FRENCH CONNECTION (1971)!

While it doesn't quite have the scope of the earlier classic, the film nonetheless makes the most of its situations (revolving around a race-against-the-clock to save a kidnapped blind girl) and settings (the majority of the action taking place, naturally, inside the titular location – with the tunnels underneath the station itself providing the backdrop for the climax, and which may well have been inspired by ending of THE THIRD MAN [1949]).

Fitzgerald is once again excellent though, here, he rather plays second-fiddle to the nominal stars – this being a Paramount film, it couldn't but be contract players (William Holden and Nancy Olson in the second of their four teamings). Lyle Bettger is appropriately menacing as the sly chief kidnapper, while Jan Sterling appears as his soft-hearted girlfriend (who suffers the consequences for demonstrating compassion towards her charge).

Union Station (1950)

I saw "Sunset Blvd" right after seeing this one, and it really is pretty cool that the two leads here were in such different films. And with such ease. William Holden is the key actor in both cases--in the sense of screen time, of course, but also screen presence. But Nancy Olson as a kind of sweet stereotype is right on. Good stuff to build a movie around.

Or the other way around. Certainly in both cases there is a core concept that the actors fit into. "Union Station" has, by way of its title right off the bat, a clean focus. Holden plays William Calhoun, head of security for a fairly large train station in an unnamed town. The crime almost doesn't matter--it's a kidnapping with ransom--because we never quite feel for the victims (hostage and hostage's family) so much as feel the investigation happen. And key there is an odd and believable clash (romantic clash) between Calhoun, who has to do his job, and Olson's character, who is a typical person who wants to do good but doesn't understand the cool machinations of police work.

The first half of the movie is more interesting for its turns of plot. It leads us through the various stages of the discovering the crime and the nature of its extent without pushing. It's quite a nice insider look at the logic of it. Then the second half turns to more action--chasing and drama pure and simple, with some of the best low light shooting you can ask for.

This is the era when studios are moving away from shooting on lots to finding locations to work in, and some of the scenes are fabulous. The stock yard chase toward the beginning is fabulous, and all the ventilation tunnel scenes at the end equally so. The station itself, which takes up the bulk of the movie, is interesting and nicely contained. This is a movie you can simply "watch" for its visual flow, and the sites. In fact, I did this twice, almost by accident, because I was tired in the first round and wanted to see what I missed. In terms of plot, nothing much shows up the second time around, but the editing and photography are really so fine you can watch it all twice no problem.

Back to "Sunset Blvd." then--there is on some level no comparison between the two, as movies, even if there are lots of overlaps in time and cast. It's not just that Billy Wilder is a far more inventive and interesting director than Rudolph Mate, but the intentions were far bigger. "Union Station" is a formula picture. It's not even a film noir, but an action drama with low key light and vigorous photography. It's worth noticing that Mate is a photographer, and was director of photography for some seriously wonderful movies. And he has a handful of great films to his resume, too. So he attacked what must have been an obvious boilerplate movie and made it really really good. Check it out.

For a mid range movie of 1950 this fast moving Railway Police/chase story packs a reasonable wallop. The cast is above average for what looks like a 'double feature' production and the script never wanders from its target for a moment. The police are shown realistically and situations are not compromised in their general graphic details. All characters are written and directed as you might expect them to be in a life challenging situation. Perhaps the somewhat tacked on ending could do with a little (very minor) editing to give it a harder edge but some may be happy with finishing it on a slightly lighter note.

Maybe Lyle Bettger could also have been reined in a tad with his full-on performance of the nasty kidnapper but he looks the part. Sydney Boehm's tight screenplay was based on Thomas Walsh's Edgar winning novel 'Nightmare in Manhattan' - William Holden and Nancy Olson were teamed again for Award winner, 'Sunset Boulevard' the same year and the image and sound on the DVD I viewed, was quite clean. Was good to discover another classic from the past.

"Union Station" is a realistic 1950 film starring William Holden, Nancy Olson, Jan Sterling and Barry Fitzgerald. It was released after "Sunset Boulevard" so by the time it came out, Holden had actually moved up another level of stardom. Rudolph Mate directed the film in a quasi-documentary way, showing all levels of an attempt to rescue a kidnapped blind girl (Allene Roberts), the daughter of Olson's wealthy boss. Holden plays the detective in charge of Union Station, and he doesn't like the idea of anybody messing with his turf.

There are some very exciting scenes, particularly the one on the train, which as someone mentioned, very likely inspired "The French Connection." Holden gives a strong, macho performance, which makes the scene where he visits Olson in her home extra delightful, as he becomes embarrassed when her mother fusses over him. It's amazing that after Golden Boy, he toiled in so many films beneath his ability. Jan Sterling is the gangster's girlfriend with a heart - it's a small but showy and sympathetic role. Lyle Bettger is the villain, and he's slime all the way through. The only problem with the film is the kidnap victim herself, Lorna, who screams non-stop. I'm surprised her father wanted her back, but you know how it is with parents.

Really holds your interest. What a hunk Holden is. Highly recommended.

Union Station is the locale of a kidnapping and in its labyrinth of tunnels that bare no accidental resemblance to the catacombs of Rome, the victim, Allene Roberts, is snatched and held captive by Lyle Bettger.

Allene is the blind daughter of wealthy industrialist Herbert Hayes and since the crime happened on railroad property William Holden as the chief railroad detective has the case. Of course the LAPD is brought in in the person of Barry Fitzgerald.

Holden is alerted to the kidnap by Nancy Olson who is traveling with Roberts. She's Hayes's secretary, but Bettger eludes them. It's a race against time to apprehend him before a payoff is made.

This was Lyle Bettger's third film and the one where he first got notice. During his career, Mr. Bettger played some of the loveliest psychotics ever put on film. This one is one of his best and in his little hideaway where he keeps the terrified Ms. Roberts, Bettger bares no small resemblance to the Phantom of the Opera. Bettger really steals the film from the good guy stars.

Union Station is one tightly constructed film with not a second of wasted footage in it. I wish it were out on VHS or DVD. Don't miss it if TCM ever broadcasts it.