Screening Report: TRY AND GET ME! (1950) at New York Film Festival

Thesoundandfury“This movie is one of the most acutely realized movies about class distinction that was made in American cinema at the time,” New York Film Festival programming director Kent Jones said before a screening of TRY AND GET ME ! (1950) on Tuesday night.

Presented at the Film Society of Lincoln Center’s Francesca Beale Theater as part of the NYFF Revivals sidebar, the independently produced (by Robert Stillman) film noir is perhaps best known for contributing to the unfortunate fate of its director, Pennsylvania native Cy Endfield.

“He had the distinction of being blacklisted,” Jones said.

Why Endfield ended up on the wrong side of the Red Scare becomes clear when you watch TRY AND GET ME!, which was recently restored with funding from the Film Noir Foundation, and screened in a beautiful 35 mm print from the UCLA Film and Television Archives.

Based on The Condemned, Jo Pagano’s 1947 novel about an actual kidnapping and murder in San Jose, California fourteen years earlier, TRY AND GET ME! is the story of Howard Tyler (Frank Lovejoy) a broke WWII vet coerced into a life of larceny by charismatic criminal Jerry Slocum (Lloyd Bridges). With one kid at home and another on the way, Tyler reluctantly agrees to drive the getaway car as Slocum knocks over out-of-the way gas stations. But what starts as small time crime soon morphs into murder, when the pair abducts a wealthy young man in hopes of a big payoff.  Incendiary headlines from tabloid reporter Gil Stanton (Richard Carlson) incite the local citizenry into a frenzy, and only when visiting Italian intellectual Vito Simone (Renzo Cesana) pleads with the journalist to allow justice to take its course does he turn down the hyperbolic heat. But, by that point, the damage has been done, and violence erupts with predictably tragic consequences.

postClearly a cautionary indictment of the fear mongering and finger-pointing of the McCarthy Era, TRY AND GET ME! had a troubled reputation from the start. It was unsuccessfully tested in limited release under the title THE SOUND OF FURY in November of 1950, before producer Stillman pulled it and retitled it. The New York Censorship Board reportedly insisted that the final reel of the film be cut before they would allow release in the Empire State. And later that year, Endfield – who had also helmed THE UNDERWORLD STORY, a 1950 crime drama with a similarly “subversive” plot – was identified by the House Un-American Activities Committee as a Communist. When he refused to name names, he was blacklisted.

Ironically, TRY AND GET ME! is about as American as a story can be – a powerful plea for due process and a damning indictment of mob mentality. Weather-beaten Frank Lovejoy gives a finely textured performance as a loveable loser who can’t catch a break, and 37-year-old Lloyd Bridges (eight years before his heroic turn in TV’s Sea Hunt) is perfectly preening as Slocum. Kathleen Ryan is heartbreaking as Lovejoy’s clueless wife. And Carlson (better known as a square-jawed hero of ’50s sci-fi)  is strong as the muckraking reporter, though his third act conversion feels a bit narratively convenient and broadly drawn.

The problem (at least in the eyes of the witch hunters) seems to lie in the words that inspired that conversion, which Endfield and Pagano (who also wrote the screenplay) put in the voice of the foreign doctor, who is in town to lecture young people:

try-and-get-me-movie-poster-1950-1020197270“It is wrong to treat Tyler and his accomplice as though they aren’t members of the human race,” he tells the journalist. “If a man becomes a criminal, sometimes his environment is defective.”

“ Violence is a disease caused by moral and social breakdown,”  he continues. “That is the real problem, and it must be solved by reason, not by emotion. With understanding, not hate. Only thus can we regain the moral center of our universe.”

Endfield reprises those remarks over the final images of the film – a bookend  rebuttal to the fire-and-brimstone street corner evangelist who opens the movie, proclaiming “Whatsoever a man soweth, that shall he also reap!” And in case you didn’t get Endfield’s point, the preacher in the opening scene is blind.

This sort of pragmatism and behavioral nuance were clearly not part of the sociopolitical Zeitgeist in 1950, and Endfield paid the price. That’s a shame because, in retrospect, TRY AND GET ME! looks like a clearheaded parable about an era of madness. Coincidentally (or not), star Lovejoy’s very next film was I WAS A COMMUNIST FOR THE FBI (1951), a pro-HUAC potboiler which undoubtedly redeemed his image with McCarthy & Co.

Happily, Cy Endfield went on to a thriving career in England, where he directed memorable movies like HELL DRIVERS (1958) and ZULU (1964). Although he never renounced his citizenship from the country that betrayed him, he remained in England for the rest of his life. He died in 1995 at the age of 80.

 The restoration of TRY AND GET ME! (1950) has not yet been released on DVD, but you can watch it streaming at Amazon


About willmckinley

I'm a New York City-based writer, video producer, print journalist, radio/podcast host, and social media influencer. I've been a guest on Turner Classic Movies (interviewed by Robert Osborne), NPR, Sirius Satellite Radio, and the official TCM podcast. My byline has appeared in and more than 100 times in the pages of NYC alt weeklies like The Villager and Gay City News. I'm also a social media copywriter for Sony's getTV and a contributor to four film-and-TV-related books: "Monster Serial," "Bride of Monster Serial," "Taste the Blood of Monster Serial," and "Remembering Jonathan Frid."
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5 Responses to Screening Report: TRY AND GET ME! (1950) at New York Film Festival

  1. Laura says:

    So glad you got to see this impressive UCLA restoration, Will! I found the film so hard to watch the first time I wasn’t even sure I enjoyed it (grin), though I was glad I’d seen it, especially as I’m a huge fan of both Carlson and Lovejoy. I hadn’t planned to watch it again just one month later, but it was the first half of a double bill with HELL DRIVERS, which I had to see! And I got a lot more out of it the second time, probably because I’m an “always read the ending first” kind of person. The second time around I really noticed just how good Carlson is in the shadow of the showier performances of Bridges and Lovejoy; I especially noticed things like his eyes nervously shifting when he’s confronted with Mrs. Tyler.

    I did feel like the Italian visitor voicing his opinions got preachy, but it’s certainly a powerful film. I really appreciated how the climax was handled, especially contrasted it with how graphically a modern film would have presented the same situation. The way it was done was tremendously effective and memorable.

    Anyway, enjoyed your thoughts so much, fun to compare notes!

    Best wishes,

  2. I always enjoy watching Frank Lovejoy when he appears in the old movies…he is so easily identifed as “Everyman” in that the parts he played could be anyone..I know you have seen Strategic Air Command. It is my favorite of his movies. I am so glad to see him honored here in your post

  3. Sarah says:

    I love the screening reports you do Will. Add this one to my list of movies that are so intriguing I have GOT to see them. I wish I had a theater that screened these movies. UGH!

  4. I’ve never seen this film nor heard of it. Thanks for the intriguing review-I hope I’ll have a chance to see it. The themes and the consequences are both fascinating!

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