User reviews

Federal agents risking mortal danger to infiltrate criminal syndicates supply one of the basic templates for film noir. The crooks can variously be counterfeiters (as in T-Men) or traffickers in illegal laborers (as in Border Incident) or, here in Johnny Stool Pigeon, heroin smugglers.

Those first two films were by the resourceful Anthony Mann; Johnny Stool Pigeon is by William Castle, no Mann but later to become the king of cheapie horror flicks after an apprenticeship in noir (his When Strangers Marry may be the best of his juvenilia).

It's a creditable if not especially memorable effort, thanks mostly to a cast headed by Dan Duryea, Howard Duff, Shelly Winters (in her sexpot phase) and, in a non-speaking part, young Tony Curtis (here billed as "Anthony," a better billing than he got in the same year's Criss Cross, where his manic rhumba with Yvonne De Carlo went uncredited).

Narcotics cop Duff knows his only chance to crack an international drug ring is by springing a convict (Duryea) whom he'd help put in Alcatraz. The oil-and-water team of unwilling partners travels from San Francisco first to Vancouver then, gang moll Winters in tow, to a dude ranch near Tucson run by the mob.

The plot's volatility depends on the possibility of Duff's being sold out by Duryea or recognized by Curtis, who spends half the movie knitting his brows in an effort to remember where he'd seen Duff before. Reckoning finally comes at a dangerous drug buy at the Nogales border crossing.

As a straight arrow, Duff's not bad, though in more ambivalent roles in movies like Shakedown or The Naked City, he can turn into a slithery chameleon. The reliable Duryea does his soured cynic number -- he had it down pat by now. Winters adds a dash of hot sauce, but it's a sketched-in part at best. Johnny Stool Pigeon adds up to a pretty routine hour-and-a-quarter of noir -- but that's far from faint praise.

Enjoyable minor film noir with a good cast, tough dialog, and interesting locations. Dan Duryea and Tony Curtis (in a non-speaking role) would appear the same year in CRISS CROSS, while John McEntire and Barry Kelley would be in THE ASPHALT JUNGLE the following year. Also in the cast Shelley Winters and Howard Duff.

This is a frequently used plot of a government agent or policeman secretly infiltrating a criminal organization and it works very well with Duff and especially Duryea, playing the leads. Winters is a sympathetic call-girl and McEntire is great as a duplicitous character. The day-for-night locations in Mexico (or a stand-in for it) are dramatically shot with overhanging clouds and trees that seem to glow in the shadows. William Castle directs and he's at his best. Not a major noir by any means, but a fine film that deserves to be restored.

A narcotics agent helped by an ex-con and a blonde floozie goes undercover to nab a criminal gang.

The routine story is boosted by a good cast and some nice production touches. That opening shootout grabs us right away, along with the moody location shots of San Francisco, and later, in and around Tucson. The film was made at a time when movies were hitting the streets instead of the sound stages, so it's a good chance to catch styles and relics, circa 1949.

Surprise, surprise, veteran bad guy Duryea actually gets a semi-sympathetic role and only has to snarl once. And catch the unforgettable Shelley Winters, just starting her whiny isn't-she- cheap act. Between them, they lend real color to the production, along with a sneakily jovial John McIntire as the dude ranch host.

Some film buffs may not be aware of director William Castle's career before becoming a notorious schlockmeister with gimmicky teenage films like 13 Ghosts (1960) or The Tingler (1960). But he had a very respectable career at RKO with the brilliantly offbeat The Whistler series of the late '40's before coming over to Universal for this crime drama.

There're a number of good touches here. Catch a young Tony Curtis as the mute hit-man, a role made all the more effective by his pretty-boy good looks. Also, what a great way to heighten suspense by handing off that life-or-death message to a possibly non-English speaker, or by filming the climactic scene at an actual border-crossing with its rows of backed-up cars.

No, a programmer like this won't win any awards, but it's another example of how energetic movie-making was during its studio period.

Howard Duff (Morton) goes undercover to bust a drug gang. However, he needs the help of his former friend Dan Duryea (Johnny Evans) who he has condemned to a life in prison. The two men do not get on with each other. Duryea helps Morton get a new identity and they then have to work as a team to infiltrate a powerful gang of heroin dealers. They make the necessary contacts but they are treated with suspicion, especially by luxury ranch owner John McIntire (Nick Avery). Can they keep their word to each other and stick together?

This is a quick moving film that also stars a young Tony Curtis as a mute bodyguard/hit-man. All the cast do well with Dan Duryea being especially likable as a criminal who doesn't like cops. I have to admire his underhand ways as demonstrated when Duff doesn't allow him to go to the bar to meet Shelley Winters (Terry). Duryea takes advantage of a visit by McIntire to pick up his jacket and let Duff know that he's going to the bar by just walking out of the room leaving Duff powerless to do or say anything infront of a guest. We then see him sitting with Winters and enjoying himself. Good for him – nice move, Duryea! He plays by his own rules and keeps the viewer guessing as to whether or not he is going to betray Duff.

It's filmed on location in San Francisco and Arizona and has an ending that had me cheering!

One of the more underrated actors of his day was Dan Duryea. He never became a household name but the actor had a great knack for playing all sorts of characters...some good, some pure evil and many in between. Here, you get a good chance to see him at his best. Along for the ride is Howard Duff, whose part is strictly by the book and not particularly interesting. Additionally, in one of his first films is Tony Curtis who plays a mute assassin of all things!

There is an international drug ring running from Mexico all the way to Vancouver. The federal authorities have some leads...but not much. So, to help them infiltrate this mob, George (Duff) arranges to have Johnny Evans (Duryea) released early from prison. The problem is George isn't very sure how far he can trust his new partner and they go undercover at a dude ranch outside of Tucsan, Arizona. Things get complicated when Johnny brings along a dame he feels sorry for (Shelley Winters), though having her along might easily jeopardize everything.

The film is mostly unremarkable but enjoyable. However, the movie really had a terrific ending--and this alone help elevate the movie above the ordinary. Well worth seeing.

Dan Duryea only had a few years in Hollywood before Richard Widmark came on the scene and took all the good roles, and in Johnny Stool Pigeon, he pulled out all the stops to make audiences loyal to him instead of the newer blond bad boy. It was a very good performance, and I hope he had a lot of fun playing the title character.

Against his better judgment, he agrees to work with the police in exchange for his freedom. He hates Howard Duff, the federal agent who helped put him behind bars in the first place, but he has to work closely with him to plan a huge drug bust across the Mexican border. Shelley Winters goes with the pair, and while Dan is smitten, she only has eyes for Howard. Poor guy!

Check out this exciting crime flick to find out if she ever changes her mind. It's a great salute to Dan Duryea, and the story has some twists and turns you won't see coming. Plus, you'll probably recognize the mute, menacing villain even though he doesn't reveal his distinctive accent: young "Anthony" Curtis.

Feels fairly by-the-numbers but, honestly, it's also a ton of fun. Solid cultivation of suspense, really fun characters and a fantastic ending. I recommend it!

Treasury agent George Morton (Howard Duff) convinces a prisoner he knew as a kid (Dan Duryea) to help him go undercover in "Johnny Stool Pigeon" from 1949.

Along the way, they meet Shelley Winters, who works in a mob club, and she becomes involved in their scheme. The three of them wind up at a Tucson dude ranch run by John McIntire as they attempt to uncover a heroin smuggling operation going through Nogales.

Duryea and Duff share a mutual dislike. The question is, will Duryea reveal to the mobsters that Duff is a cop? Meanwhile, a mute mob associate (Tony Curtis) recognizes Duff from somewhere, but he doesn't seem to be able to put it together.

Pretty routine story with good acting, directed by William Castle, told in the sem-documentary style that was popular for movies involving the government in the '40s.

The striking thing about this film to me was how incredibly young these actors were! Shelley Winters was slender and pretty, Duff was trim and handsome, and Curtis was positively adorable. This was his third film; he came to the attention of audiences when he danced with Yvonne DeCarlo in Criss Cross. Easy to see why. I'm prejudiced. I used to work for him.

In what I rate as the greatest year in the golden age of movies, 1949, the ever reliable William Castle cranks out what would seem to be a routine B programmer about federal agents getting in the thick of crime (drug smuggling) to weed out some highly execrable outlaws, only this time Castle has a super cast at his disposal which clearly lifts this noir above B status.

To Castle's credit, he extracts very good performances from Duff, Winters, McIntire, Kelley and, especially, Dan Duryea, a con doing time who has sworn revenge against US Treasury agent Duff, but turns out to be more decent than imagined after seeing his wife killed as a consequence of consuming narcotics.

Soaring above the film's lofty acting standards, Duryea posts possibly his career-best show in a rare and surprising role as a seemingly inveterate baddie with a decent streak which ultimately redeems and finds him love and happiness. The revenge he warns Duff about turns out to be the wonderful woman who recognizes his worth in the end.

Winters and McIntire also deliver superb performances, the latter as the cold and calculating master villain. Interesting to note that the following year, 1950, Duryea, Winters and McIntire would re-assemble in one of the greatest Westerns ever, WINCHESTER '73.

As would a very young Anthony (Tony) Curtis, who in JOHNNY gets a small and wordless but crucial part as a baby-faced good for nothing... other than killing.

Cinematography deserves considerable praise throughout, the highlights being the early scenes at a dockyard, the apparent alacrity of all in a restaurant/dancing room, and the hangar at the end.

Chases and other action sequences are crackingly well staged, including the shootouts and, above all, the decisive plane-police car crash.

True, the script does not rise above some predictability, but then it is based on true FBI reports, and you know that good will win over evil. Thank God!

During the Film-Noir Zeitgeist it Seems Almost Every Film was Influenced by an Undeniable Ethereal Entity Pushing Hollywood Movies in a More Expressionistic and Entertaining Direction.

Giving the Films a "New-Coating" that Rendered them Different and a bit More Artistic than the Pre-Noir-Movement,

Obvious that a New Form of Creativity had Arrived Unannounced and Undefined, but Unarguably Injecting some Kind of Magic.

Witness this Under-Card, B-Movie Programmer, Directed by the Flamboyant William Castle.

A Gifted Film-Artist that Delivered More than Expected when Helming His "Little" Movies...

Honing His Skills with Low-Budget Efforts. Other Directors were Doing the Same, with the Likes of Don Siegel, Budd Bottichier, among Others.

Like the Castle's "Whistler" and this one, a Cracker-Jack Crime Caper that Bristles with Location and Costuming, Plugged-In Actors Throughout,

and an Overall Sizzling Entertainment that Delivered, Always More Bang for the Buck.

Notice How the Story's Quick-Pace seems Effortless and Snaps from One-Scene to Another with just the Right Amount of Lightning-Fast Set-Ups before Moving On.

The Actors Decked Out in Noticeable Flashy Outfits, John McEntire the Most Obvious with His 2-Guns Attracting Attention and Shelly Winters B-Girl Stealing Scenes.

Howard Duff the Most Pedestrian, Along-With the Electric Dan Duryea.

Then a 24 Year Old Tony Curtis Shows Up and Puts On a Show that Mesmerizes with His Muted Scenes with Eyes that Probe Underneath a "Drop-Dead" Handsome Exterior.

Only His 3rd Movie and Another Very Short-Screen-Time but Attention Grabbing Nonetheless.

The Ending at the Airport is a Wow and Proves Yet Another Unanticipated Image Enhanced Climax for this Endlessly Fascinating Film, Shot on a Shoe-String.

Definitely...

Worth a Watch.

Dan Duryea heads a cast that includes Howard Duff (husband of Ida Lupino), Shelley Winters, and the very dependable and self-assured John McIntyre (who would go on to star in the Naked City TV series). The film was directed by William Castle, who was no stranger to keeping to a very tight budget, but manages to get the atmosphere pretty good for this film. An FBI agent gets a con to cooperate with him to infiltrate a drug mob. It seems the girl of the con died from an overdose. Winters is the necessary romantic interest added to the plot. McIntyre almost steals the film from everyone with his diabolical performance. Worth viewing.

Watching Dan Duryea is always a treat. But Johnny Stool Pigeon was one wierdly plotted noir film.

Narcotics cop Howard Duff looking to work his way inside a narcotics ring gets Dan Duryea a childhood friend who took another career path sprung from prison. Duryea doesn't like law enforcement however and that includes Duff.

The head of this racket is genial gladhanding John McIntire, proprietor of a dude ranch near Tucson which is a front.

Basically the whole film centers on whether Duryea will betray Duff. The two also have a rivalry going for cocktail waitress Shelley Winters.

Tony Curtis is in this film as well playing a deaf mute killer. Not a word of dialog, but he throws some deadly menacing looks.

Johnny Stool Pigeon had promise and could have been a classic. But it had a flawed storyline.

The movie starts off like a police procedural of the period, but twists into something quite different and intense. Howard Duff is a cop and Dan Duryea is a criminal who infiltrate a drug mob. Both are top notch actors who keep us guessing as to what they're really thinking. Shelley Winters is sexy as the girl who flirts with both in order to escape from her life as a gangster moll. Hanging around on the edges of the film is Anthony (Tony) Curtis. He is quite chilling portraying a cruel thug without saying a word. This was the 24 year-old Bernard Schwartz's third film, but the first one where he is really generating interest. William Castle is known as a director of gimmicky films, but he has some surprisingly effective horror films, "The House on Haunted Hill," and "the Tingler" to his credit. This movie is also surprisingly effective.

This is a classical noir as everyone here is engrossed in double-dealing at the risk of their lives, Howard Duff at his very coolest not moving a muscle in his face throughout this nerve-racking drama, Dan Duryea the wilder for his desperate venture, sentenced for life in Alcatraz but let out on condition that he helps the police in rounding up a fearful drug cartel, Shelley Winters risking everything just to get away from her dependence on cruel hoodlums, John McIntire as a hearty general director of a ruthless racket showing only overwhelming charm and warmth outwardly but actually being the most sinister of all, and Tony Curtis as his mute body-guard, constantly vigilant and the more ominous for his silence, here quite young and knowing nothing but his gun. The drama is sinister indeed, you will bite your knuckles as you are constantly more on edge, and the funeral intrigue caps the macabre morbidness, but at least Shelley Winters succeeds in her escape.

It seems impossible with this cast but this film is a slow moving bore. No action, no suspense, and the dullest dialogue ever. Dan Duryea, Shelley Winters and even Tony Curts - just wasted.

This is not a film noir. Its more like an extended version if a dull Dragnet episode.

Vintage cars, big fedoras, and black n white film stock do not a Noir make. Generic tale of Feds trying to take down a narcotics racket offers nothing that Noir fans haven't seen in dozens of similar, and better, films. Helmed by Dan Duryea, rather subdued in this one, and Howard Duff, sharp as a bar of soap. One the plus side, this predicts the later Nafta trade era, with locations in Canada, the States and Mexico. Also, a great deal of this is set at a Tucson dude ranch, rather than rain soaked alleys. A young Shelley Winters as good time girl trying to ease away from the game seems the most genuine character in film. Tony Curtis memorable as mute torpedo.

Howard Duff is a Federal narcotics agent. Word comes of a new supply of "stuff". His superiors agree that an undercover operation is in order, but they have no idea of how to make the first contact. Duff goes to see a gangster he knew from growing up: Dan Duryea. Duryea won't be made a stool pigeon. When Duff takes Duryea to the morgue and shows him his wife, and the mortality card, "Heroin", Duryea agrees to help.

After they make their first contact, they're sent to a second location, but they've picked up an associate in Shelley Winters, a girl who always lands on her feet, tailing them from their midst.

This Universal programmer directed by William Castle has an interesting script. Winters and Duryea remain ambiguous figures almost to the end. Are they going to betray Duff? There's also Tony Curtis in his third screen role. He never speaks a word, but he glowers a lot.

It's a high-speed movie, a bit too abruptly drawn for much in the way of emotional involvement, with the characters so narrowly defined as to be uninvolving. Duff is the driven G-Man. Duryea is the angry hood. Winters is the trodden-upon girl too smart for her own good. It's a movie where the plot seems to drive the characters, rather than the other way. The actors are all good, but the speed renders it routine.