As Pierre Watkins explains in the plain office where all his scenes are shot, the possibilities of radar are endless. Apparently it can locate guns thrown out of car windows, find schools of fish deep in the ocean, and produces images of the vehicles carrying the radar units that trundle along behind them.
All of which is largely useless when a bunch of crooks steal U-238, which Watkins explains can be used in power plants. I imagine the possibilities are endless. So Ralph Byrd and his cohort head off in their car capped with a giant aluminum globe to track down the baddies, which they can't. Instead, they have to walk into houses and be beaten up by the bad guys.
It's a very poor script that Beryl Sachs -- who also penned MR. MUGGS STEPS OUT -- has written, for Sam Newfield to direct for Lippert. "Radar" is mentioned constantly and serves no purpose at all in the story, and it's clear that no one involved in this production had any idea what it is. A decent cast, including John Howard, Adele Jergens, and Tom Neal are wasted here. Sid Melton also appears.
At least the copy I looked at was from a good print, showing off B-Western cinematographer Ernest Miller's flair with moving shots. Usually the prints of his work are so awful, I can't make much of them except that the guy on the horse went thataway.
All of which is largely useless when a bunch of crooks steal U-238, which Watkins explains can be used in power plants. I imagine the possibilities are endless. So Ralph Byrd and his cohort head off in their car capped with a giant aluminum globe to track down the baddies, which they can't. Instead, they have to walk into houses and be beaten up by the bad guys.
It's a very poor script that Beryl Sachs -- who also penned MR. MUGGS STEPS OUT -- has written, for Sam Newfield to direct for Lippert. "Radar" is mentioned constantly and serves no purpose at all in the story, and it's clear that no one involved in this production had any idea what it is. A decent cast, including John Howard, Adele Jergens, and Tom Neal are wasted here. Sid Melton also appears.
At least the copy I looked at was from a good print, showing off B-Western cinematographer Ernest Miller's flair with moving shots. Usually the prints of his work are so awful, I can't make much of them except that the guy on the horse went thataway.