DVD Review: Who Killed Teddy Bear (1965)
‘Rebel without a Cause’ is regarded as James Dean’s finest film – searing onto the pop cultural retina the most profound image/embodiment of youthful potency-EVER. The camera’s homocentric obsession with his character, Jim, arguably mirrors that of his friend, the troubled and sensitive Plato, played by the painfully handsome, Sal Mineo. Oscar nominated for this role, his powerful portrayal of a young man teetering on the brink whilst fighting personal demons makes the film equally his.
In Who Killed Teddy Bear, Sal Mineo brings a similar emotional balancing act to his portrayal of Lawrence Sherman, a busboy in a New York discothèque. As the story unfolds, Norah (Juliet Prowse), a DJ at the club, becomes the target of abusive phone calls. A police Lieutenant (Jan Murray) takes an increasingly keen and personal interest in Norah as does her female boss. Suspicious of most people around her, Norah tries to work out who the culprit is. Lawrence meanwhile, revealed as the stalker, continues with his voyeuristic activities becoming more unhinged as he recalls traumatic past experiences.
A film about obsessions and motives, one is kept intrigued by the former and guessing about the latter and this is admirably achieved through the directing skills of Joseph Cates (Phoebe’s dad). Sharp, tough dialogue matching the environment perfectly, noir ambience to the fore thanks to cinematography and a couple of extremely well crafted scenes. In fact, it’s a number of scenes that resonate the most when recalling this film – a back street murder, Lawrence’s semi lit apartment - but especially the extended ones where club goers frug and shimmy enthusiastically to a record played by Norah. There’s a kind of ‘off guard ‘charm about this scene and it more importantly precludes a key scene regarding Norah and Lawrence dancing together at the end of the film with its attendant sexual subtext.
The locations, New York and the Times Square area also stars of this film. This hotch-potch of characters are presented against this seamy backdrop in shaky handheld manner and there’s a gritty reality in the combination. One is reminded of the rotten apple as seen in movies, ‘Shadows’(the aforementioned dance sequence reminds me of another Cassavetes film, ‘Faces’) ‘Mean Streets’ and ‘Taxi Driver’. The music ain’t bad either, the main record she spins as a DJ: a catchy, soul-ish number by Bob Gaudio and Al Kasha of the Four Seasons and a stone cold camp classic in the title song.
Thoughtful and on the button performances by Elaine Stritch, Jan Murray (delivering some of the best lines…”No one’s inviolate, not even virgins” ) and Margot Bennett as Lawrence’s sister Edie serve the film well. The delectable Ms Prowse convinces as the heroine, all sass and pouted pulchritude. It is however Sal’s film, the camera again showboating his considerable features (giving Juliet Prowse a run for her money in the Bee Stung Lips Awards) whilst letting his eyes and his twitchy demeanour hint at unspeakable intent. Again, comparisons need to be made and his portrayal of a soul suffering impotence and isolation surely places him as a forebear of one Travis Bickle.
Apart from a little weak dialogue and uneven plot development regarding Norah’s relationship with the detective I found this film – criminally underrated and overlooked for many years - a real treat, not to mention a gem of a film.
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