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Touches You

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

One of the worst ways to make a cult movie is to set out to make a cult movie.

James Murray, star of King Vidor's "The Crowd" (1928), had a checkered sound career. His one powerful scene as the train brakeman in "Baby Face" (1933) was censored before the movie hit theaters (although, pleasing to report, it has been restored in the Warner DVD release). In the Grapevine Video 7/10 DVD, "High Gear" (1933) release, we discover that James Murray actually has a pleasingly strong voice, although joined to a somewhat bland personality. Admittedly, the script in which a juvenile Jackie Searl is allowed to run riot, does not favor Murray, while those masters of comic relief, Eddie Lambert and Ann Brody, are also allowed to steal scenes right, left and center. Leigh Jason's uninspired direction doesn't help Murray either. And even worse, the screenplay's noirish aspects are toned down almost to the point of non-existence. Also poorly treated is heroine Joan Marsh who ends up making no impression at all,

James Murray was once described by King Vidor as the most naturally gifted actor he had ever seen. From working as an extra to the lead role in MGM's "The Crowd" he gave an extraordinarily sensitive performance as John Sims who is eventually beaten by life. Historians have said he had the same dynamism as Spencer Tracy. That is probably why, even though Murray was battling alcoholism during the making of "Rose Marie" (1927), in 1933 he was still given the chance to make good. "High Gear" was his last chance - from his next picture on ("Central Airport") there were only bit parts or roles that any actor could play.The maudlin story - dare devil racer (James Murray) accidentally causes the death of his mechanic and is left to look after his young son, is given a fresh look due to some innovative direction (well, innovative for Goldsmith Hollywood Pictures). Mark "High Gear" Sheridan (Murray) is in the race of his life but he hasn't got his mind on his job - it is off with his latest flame, hot shot reporter Anne (Joan Marsh), so he has a smash up and his mechanic is killed. He instantly takes charge of Jimmie (Jackie Searl, in a very winning performance, proving that child star "brats" could also play for sympathy), sending him off to military school which had been his father's dream. When Mark finally gets back in a racing car he realises he has lost his nerve and vows never to race again.To keep Jimmie in the prestigious school he gets a job as a taxi driver and as luck would have it one of his fares wants to go to the military academy. In a novel twist he also visits Jimmie on the sly but surprisingly the secret does not get out and Jimmie gets to keep his dreams. Due to a disgruntled suitor of Anne's, Sheridan's come down gets into the papers, Jimmie runs away and stumbles into the middle of a taxi war but when Jimmie is hit by a flying object only Sheridan's quick but skillful driving gets him to the hospital in time.Joan Marsh had been a Wampas Baby Star in 1931 but to me she always looked like a second string Barbara Pepper. Marion Sayers, Murray's real life wife, also had a bit as a telephone operator. Sayers, who had once been "Miss Florida" in a beauty contest, divorced him soon after this movie claiming he drank to excess (surely a big understatement)!!!

This film is in the public domain and time has not been good to the print. As a result of it being an orphan, the print is choppy--with parts of the dialog clipped out here and there. Additionally, during the first race, a scene occurs from early in the film--completely out of place and out of sequence. So, as the leading man is racing about in his hot rod, the scene switched from the race to the same guy with the female reporter--trying to make time with her! Then, the scene switches and he's back behind the wheel of his sports car in the middle of the same race! Yikes! There's plenty more like this, unfortunately.James Murray plays a racing car driver. His best friend is his co-driver (standard back in the old days) and when this friend is killed in a race, Murray is so traumatized that he cannot bring himself to go back to racing. He also has inherited custody of his friend's son and has determined to keep him in a nice military academy--but paying for it is tough when he's not able to race. Murray makes ends meet as a taxi driver but doesn't tell the kid or a nice reporter (Joan Marsh) who is infatuated with him. In fact, he's so ashamed that he avoids her like the plague.Later, the lady accidentally discovers his new identity as a cabbie but decides NOT to divulge this in her column. But, her friend's promise NOT to mention this is immediately broken--as he reports on Murray's fall in his next radio show--calling Murray "yellow" and telling everyone that he's now just a cab driver. This makes life tough for the kid in military school, as he's idolized Murray and told everyone all about his 'Uncle Mark' and his exploits. Considering that this is a rather predictable B-movie, you just know by the end of the film that Murray will be back behind the wheel and his winning ways. However, I must admit that HOW this occurred took me by surprise--even if it was incredibly contrived and odd.The film is a very standard low-budget B-movie. There are a few things of interest, though not enough to make this one to see. First, the film did a nice job of portraying PTSD (though such a term wasn't coined for several more decades). Second, I liked that Marsh was a very ordinary looking woman--a bit chunky and less glamorous than you might expect. I like this, as too often in film everyone is sexy and beautiful--and totally unlike real life. Third, I liked the neighbors. While walking ethnic stereotypes, they were sweet and added nice color to the otherwise drab film. Overall, because of the standard plot and choppy print, there isn't any real compelling reason to see this one.

HIGH GEAR (Goldsmith Productions, 1933), directed by Leigh Jason, is a minor 67 minute programmer that merit's some consideration for being one of the very few films of the sound era where actor James Murray plays a prominent part. The name James Murray may be of little or no importance to anyone who's never seen him in the role he's most identified, THE CROWD (MGM, 1928), a silent drama directed by King Vidor. Although he appeared opposite such notables as Lon Chaney (THE BIG CITY, THUNDER) and Joan Crawford (ROSE MARIE) during his 1928-29 MGM period, Murray's career, which showed great promise in THE CROWD, drifted to obscurity, turning up in minor roles with or without screen credit, with occasional leads in poverty row features such as the one called HIGH GEAR.The plot revolves around Mark "High Gear" Sherrod (James Murray), whose career has reached its peak after five years as a race car driver. His popularity lands him an exclusive interview with Anne Merritt (Joan Marsh), a newspaper gal or "sob sister" for the Morning Eagle, with whom he becomes interested. During the big race, Mark's car, The Red Lion Special, meets with a serious accident, causing the death of Eddie Evans (Mike Donlan), his mechanic co-driver and best friend. Taking the responsibility in raising Eddie's young son, Jimmy (Jackie Searle), Mark keeps his friend's promise by raising the boy and enlisting him in military school. Unable to resume his profession, Mark, who has lost his nerve, gives up racing, earning his living driving cabs in order to help pay for Jimmy's tuition. Mark's new profession is exposed on radio after being spotted by Larry Winston (Theodore Von Eltz), a columnist and Mark's rival for Anne. To escape embarrassment from his fellow classmates, Jimmy leaves the academy to be with Mark, only to get himself caught in the middle of a taxi war between Mark and rival cabbies, leaving Jimmy with a fractured skull caused by a thrown wrench, and further complications for Mark.Somewhat inspired by James Cagney's racing drama, THE CROWD ROARS (Warners, 1932), where character reaches the downward path after the accidental death of his pal during a car race, HIGH GEAR indicates that while this James is no Cagney nor the film itself can't compare to the fast-pace action most associated with Warner Brothers, it starts off promisingly with its opening titles imposed over the live action of Jackie Searle holding stop watch as James Murray and Mike Donlin are seen driving the race car around the track, then shifts gears after an exciting race sequence over to the military academy, taxi stands and uninspired sentiment. HIGH GEAR does offer amusements, however, including one where news-gal (Marsh) makes way into man's (Murray) hotel room to get an interview, even when he's taking a shower. There's also comedy relief provided ethnic types, Mr. and Mrs. Cohen (Eddie Lambert and Ann Brody), the friendly landlords to the central characters. Though their Yiddish dialects and stereotypical manners were quite typical of the day, their performances sometimes get in the way of the story.Joan Marsh, a young blonde with a physical appearance of a then youthful Barbara Pepper or Mary Carlisle, is satisfactory as the news gal while Jackie Searle appears against type in a sympathetic role, though more natural playing a whining brat for which he is famous. James Murray on the other hand indicates what might have been had better roles been in his favor. Tragically, Murray, who was found dead through mysterious circumstances in 1936, never leaving any kind of legacy as James Dean or others who died at a young age.Seldom televised, HIGH GEAR did play part as a 45 minute featurette in the 90 minute PBS showing of "Matinee at the Bijou" of the 1980s preceded by newsreel, chapter serial, coming attraction and short subject. Although HIGH GEAR will never win any trophy cups for coming in first as screen entertainment, it's availability on home video and later DVD is a great opportunity in seeing and hearing the actor whose accomplishment made THE CROWD a classic it's become today. (*1/2)