Until recently, Richard Fleischer’s 1949 film noir Trapped was relegated to grainy DVD’s mostly seen on sale racks and in cut-out bins, the poverty row Eagle-Lion Films production being in the public domain. Newly restored by the Film Noir Foundation and UCLA Film and Television Archive, with support from the Hollywood Foreign Press Association, Trapped can now be properly viewed and reassessed as much more than a forgettable low-budget B-movie, and clearly part of the classic postwar noir canon (if cult fans hadn’t already positioned it there).
Produced by Bryan Foy, expertly living up to his previous status as the “King Of The B’s” at Warner Brothers and by ’49 in charge at Eagle-Lion, newly restored Trapped received a proper presentation on TCM this past weekend, with Noir Alley host, Film Noir Foundation founder and maestro of all-things-noir Eddie Muller providing an engaging overview of the stories behind the film.
Think of Trapped as a precursor to William Freidkin’s 80’s neo-noir To Live And Die In L.A., with convicted counterfeiter Lloyd Bridges, in his first real leading man role, here furloughed from prison to assist the Feds with the retrieval of a set of near-perfect $20 bill plates. But Bridges escapes and a dizzying set of double-crosses unfolds. Halfway in, I was ready for any G-Man to be revealed for a crook, and for any counterfeiter to flip out a Treasury Department badge.
What I wasn’t ready for was just how good twenty-one year-old actress Barbara Payton could be in her own breakout role, playing a nightclub cigarette girl and Bridge’s girlfriend/accomplice. Her sexy, gritty performance (with an undercurrent of weary vulnerability) captivated audiences 70 years ago, along with some Warner Brothers bigwigs who immediately put her under contract. But Payton’s success was short-lived, her penchant for fellows, booze and brawling ending her career only a few years later, with poverty, scandals and arrests in the years that followed, right up to her untimely death at only 39 in 1967.