Many movies start out creative and intriguing but then at some point lapse into formulaic filmmaking, thereby disappointing the viewer. Mark Stevens’ 1956 film noir Timetable is an admirable example of the reverse phenomenon, a movie that starts out in familiar territory but ends up somewhere far more engaging: .
The film opens with an ingeniously plotted robbery on a train, pulled off by an icily calm physician (Wesley Addy, a durable TV actor who is very good here in a rare big screen appearance). The case is investigated by a seasoned by-the book police detective (played Joe Friday-style by King Calder) and an eminently respectable insurance investigator named Charlie Norman (Mark Hopkins). For the first 20 minutes, Timetable is a solid but unremarkable police procedural as the two heroes track down the robbers. But then comes a superb twist that drives the story into deep film noir territory, allowing Aben Kandel’s script to dig into themes of lust, middle-class alienation and deceit. The next hour of the film is thus unexpectedly suspenseful and powerful, raising the movie into recommendation-worthy territory.
I admire the control Mark Stevens took over his career in the 1950s. He was stuck in a “road company leading man” spot with the big studios, so much so that even when he anchored a good film he got fourth billing! (The Dark Corner). So he struck out on his own by directing, producing and starring in his own movies, including Timetable, where he does good work in all three capacities.
A few other notes about the film. Jack Klugman, as a luckless criminal named Frankie Page, made his big screen debut here. This is also Felicia Farr’s first film, but she was underutilized I think. Finally, on a silly note, this movie inspired an essay on how little money weighs in the movies.
My belief is that Timetable is in the public domain, so I am going to post it right here for you to enjoy. It’s 80 minutes well-spent.