Steinesongo Too many fans seem to be blown away

Actuakers One of my all time favorites.

BroadcastChic Excellent, a Must See

Dotbankey A lot of fun.

mark.waltz When a police officer is shot and killed after apprehending a suspect in a car theft, all hell breaks loose in the Los Angeles police department. Commander Edward G. Robinson is hellbent on apprehending the killer, and finds that the one key witness (Porter Hall) won't talk. He is under the advisement of his attorney to keep his mouth shut, but it is clear to Robinson that Hall is hiding something. That something is a blonde mistress which the portly Hall fears that a revelation of will end up being revealed to his unseen wife. In the meantime, Robinson also utilizes a local madam (Paulette Goddard) for clues as to the identity of the people involved in this case, while also investigating the claim of an aging conman that a Beverly Hills bank is about to be held up.Poor Hall can't get a break. When his shady lawyer gets him off on a rift, Robinson has him accused of being a masher. Later, he's a public drunk, and more charges follow suit in Robinson's efforts to keep Hall detained. He knows that once Hall and his mistress (Joan Vohs) come upon each other, he'll get Hall to co-operate, and the way he goes about this is very clever. There's a very amusing sequence with Vohs, a fur model, being escorted away from work after modeling a fur for a client where the law-abiding police officer grabs the stoll off of her to hand back to the department store supervisor. Another amusing sequence has Goddard (basically underused but amusing in her few scenes) being taken in by the police while interviewing a "client". She has a very amusing exchange with Robinson in regards to "pick-ups", and you can see that Robinson, the victim in this wisecrack, is very amused by it.Yet, as light-hearted as Robinson's character is, he ain't no sap, and when he does come across the man he believes to be the cop killer, he leaves no detail unexposed as he reveals what will happen to any cop killer as they head to the electric chair. His tongue may be in his cheek as he deals with getting the information he needs from witnesses, but when it comes to protecting his own, he is very serious. K.T. Stevens has little to do as his devoted secretary, but having had an interesting film career up to this time, I thought that it was very important to mention her, as she receives third billing. Unbilled Percy Helton is also memorable as a paranoid visitor to the precinct who has a fear of television. Several great shots of mid 1950's Los Angeles locations (going from downtown to Beverly Hills to Santa Monica Beach) give it a period look that adds to the reality of the drama.

dougdoepke A cop-killer main plot is woven into a typical day in a police captain's LA precinct. I really like seeing Barry Kelley's shyster lawyer get the run-around, getting all huffy and dyspeptic while the cops squeeze his client (Hall). Kelley was so good at smug, high- powered lawyer types that it's fun seeing him flustered for a change. The movie's almost a rogue's gallery of shady characters from the 50's, including that great little gnome Percy Helton whose deluded character apparently has "tv images" following him around! I'm just sorry we don't see more of the coquettish Goddard and her "escort" service (now what was that phone number again?).Nothing exceptional here, just a really well-paced look at a police precinct in action. So look quickly because the characters-- excepting Robinson's police captain-- move in and out briskly, as do the many LA-area locations, circa 1953. At the same time, many of the cameo characters are well- etched. Note, for example, how the mortuary's secretary tries to pull a "bait and switch" on a customer, using an advertised $650 service as bait and then switching to a much more expensive one. That's the sort of incidental touch that really adds color, especially to a B- movie like this.Speaking of touches, note the questionable tactics the cops use in chasing down the killers. Getting wimpy undertaker Hall to lie about his eye-witness identification is perhaps the most legally questionable, but not the only one. There's a clear effort at portraying police methods more realistically than usual, especially for the politically chilled 1950's. Anyway, in my little book, this is Hollywood thick ear at its slickest and most watchable.

theowinthrop This is one of those excellent programmers that studios used to churn out as fillers (second or third features) when a day at the movies was really a day at the movies. Not 90 minutes to two and a half hours, but five hours, followed by a late dinner with your girl friend, boy friend, spouse, or kids. Robinson knocked this film (and several other excellent ones) he did in the early 1950s because his days of movie stardom seemed over (due to blacklisting, as well as a messy divorce). It was a bitter time, and his memories were colored by that bitterness. Yet in this period he did films with Paulette Goddard, Ginger Rogers, Alan Ladd, John Forsythe, and Barbara Stanwyck (the last a western). He even did a second film with his old film co-star (and nemesis) George Raft. Not bad for a barren period. Considering the number of films he did appear in, and comparing his situation to that of ... John Garfield, Robinson did not do too badly.This film was made shortly after "Detective Story" with Kirk Douglas, William Bendix, and George Macready. While that was a good film too, it was based on a successful stage play. This is based on a script from Hollywood originally. But it is one of those "day in the work life of a police officer". Robinson is shown trying to find the two goons (Edward Binns and Lee Van Cleef) who killed one of his men in a robbery. He is also handling problems with a fake-Italian fortune hunter, a scared little man (Percy Helton), and even a television news spot he has to give. He handles everything with considerable professionalism and aplomb."Detective Story" may have initiated this period of films like this, but in actuality "Detective Story" centered on the emotional problems of "good" cop Kirk Douglas, and how he resolves them by sacrificing himself to catch an armed criminal (Joseph Wiseman). A better film to compare it with is "Gideon's Day", an odd film made a few years later by John Ford. Unlike most of Ford's films it was shot in England, and starred Jack Hawkins. The "Gideon" novels were popular detective stories at the time, and "Gideon's Day" dealt with Chief Inspector Gideon tracking down the thieves who fatally injured a policeman who tried to stop them. Ford's film dealt with other incidents in the officer's day, including meeting a new constable who is something of a stumble-bum, who ends up being re-introduced to him as his daughter's new boy friend. Although minor John Ford, it has some good moments (such as Hawkins talking to the dying police officer in the hospital, which is shown from the point of view of the officer going in and out of consciousness). Except that it takes place in London, not L.A., it is a match for "Vice Squad".But somehow "Vice Squad" works better. Except for the comedy about Gideon's daughter and her new boy-friend, most of "Gideon's Day" is definitely set in England, and yet Ford can't get his Irish-Americanism totally out of himself. At one point an angry Gideon has to restrain himself from taking a poke at an arrested perpetrator. That would not have been normal in England, where that type of reaction is usually not met with. It would have happened in the 1950s (or even the 2000s) in any American city, but that seems to be expected."Vice Squad" has some good performances holding it up. Binns and Van Cleef do their normally professional jobs as the killers. Percy Helton plays a timid rabbit of a man, who has seen Robinson before (the scene humanizes both men, for Robinson knows Helton's fears are based on psychological problems and has been trying to get him to see a doctor). Porter Hall plays possibly the funniest schlemiel type he ever had the luck to play, as a man who was out on a private toot but is paying for it again and again because he was at the scene of the crime, so he is possibly a witness. Ironically Hall never saw anything, but Robinson still manages to use him effectively against somebody who can unlock the mystery. Even Hall finally realizes that it's to his advantage not to deny anything, but to play along with Robinson's hunch. The two did well together in "Double Indemnity", and it pleasant to see they still well together here. Paulette Goddard's performance is smaller than one would have wanted, but she makes the most of the role of the head of the "escort" services. If the rule twisting here seems out of date, please remember this is from 1953. The Warren Court had not started changing the open door policy for police investigations yet.

howdymax I heard that Edward G Robinson referred to this as his "B" period. After seeing this movie, I'm really sorry he felt that way. Vice Squad is the story of a Chief of Detectives in LA dealing with a half dozen related problems, but primarily with a cop killing that is tied in with a bank robbery. There will be comparisons to Detective Story - and there are similarities - but despite it's puny budget, over the hill or unknown stars, and poor production values I think this is a better movie. In fact for the reasons above, it seems to have a more realistic feel. The action sequences and dialogue are, for the most part, really believable.EGR was under suspicion by HUAC when this was made and I think it was reflected in his underplayed performance, which I think was an improvement. Paulette Goddard was totally irrelevant. Her part could have been played better by somebody like Isabel Jewell. Porter Hall and Jay Adler were never better.I am sorry this film never got the attention it deserved. I'm sorry that Eddie G thought so little of it. But most of all, I am sorry that most people will never get to see it. I am an avid movie buff and it took me almost 50 years before I ever knew it existed. Please, see it if you can.