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In 1953, I, The Jury became the first of Mickey Spillane's Mike Hammer series to hit the screen, but it takes its cues from movies of 1947, when the book hit the kiosks. The yuletide cards serving as scene dividers, the violence counterpointed to Christmas carols recall The Lady in the Lake, while the duplicitous female psychiatrist reprises Helen Walker's Dr. Lilith Ritter in Nightmare Alley (the final, fatal tryst comes from the even earlier Double Indemnity).

These echoes may have been attempts to invest Hammer with some respectability, linking him to the more subtle and textured characters of the 1940s. It's clear something had to be done with him, because Spillane went for raw sensation in a way that caused a sensation of its own. His private eye is uncouth, short-fused and randy but misogynist, bowing to no authority save his own (hence the title). Spillane luckily or shrewdly had as readers of his punch-drunk prose men who had survived overseas combat and were making up for lost time in the footloose, post-war prosperity; he gave them not just sex and violence but sex-and-violence.

So in one sense, Biff Elliott makes an ideal Hammer, closer to Spillane's lout than his (relatively) spruced-up successors Ralph Meeker and Robert Bray (plus Armand Assante, in the marginally better 1982 remake of this title). He comes across as a Dead End kid grown up with a license and a gun, slow-witted but fast with his fists and his trigger.

When his best friend, an insurance investigator and combat amputee, gets himself coldly killed, Hammer scours New York to avenge him. The urban locales bring out the talents of director of photography John Alton, who here tried his hand at the 3-D process (thus I, The Jury, along with Man in the Dark, The Glass Web and Second Chance, becomes one of the few noirs so filmed).

The shoot-from-the-hip action, however, rides roughshod over any intricacies of the plot. Characters Hammer encounters stay generic, with the exception of Peggie Castle as the shrink. The film's last scene is hers, not Elliott's, as she moves into a languorous striptease that comes to a quick finale. For better or worse, it's an emblematic image that showcases Spillane's coarsened sensibility, his fusion of brutality and eroticism, and spells an end to the more freighted ambiguity that was a hallmark of the noir cycle.

I got the chance to see this film today in a movie theater in its original 3-D glory. And WOW- not NEARLY as mediocre as you've heard. The audience LOVED it- what WAS bad dialogue is now hysterically camp. Biff Elliot (the screen's first Mike Hammer) was in attendence, full of vigor at age 80. A charming man, some wonderful anecdotes about his Hollywood experiences, but in his first film, he doesn't cut it. However, the supporting cast is wonderful- Peggy Castle is not only beautiful, but does a wonderful film noir dame. And my almost-Mother-In-Law Margaret Sheridan turns in outstanding support as Mike's secretary Velda...sexy & wise-crackingly smart(she retired in the early 60's to be a housewife and mother to two daughters- unfortunately, she passed away from cancer in 1981). A lot of "B" stars show up, like Elisha Cook Jr. and Joe Besser(the great tie-in to Joe was the 3-D Three Stooges short PARDON MY BACKFIRE which was also shown). And, as for the 3-D, it was rarely shown in that format, and the print shown was definately worn by time, but while there was no mandatory "throw it in your face" shots, the 3-D emminently added to the film's mood, with some wonderful photography, especially in L.A.'s Bradbury Building. I will definately check this one out again, albeit in it's "flat" version!

The screen debut of Mike Hammer 'force of nature' and self-appointed judge, jury and executioner. Biff Elliott had an apt name to portray a detective who tends to punch in the mouth first and asks questions later. He does talk like a man whom has been hit over the head on numerous occasions but is totally outclassed by his co-star Peggie Castle, sensational as the duplicitous shrink Charlotte Manning. The narrative seems to consist almost entirely of scenes of vicious beatings-up and murders, and as in so many other movies of its type, the hero can take any amount of punches to the face and emerge unscathed. I might have found it all rather tiresome had the film been more efficiently constructed, but the generous amount of ludicrous dialogue and the generally ham-fisted approach made it almost perversely entertaining. I was amused by good old Elisha Cook Jr. and his queen bee, though this inadvertently pointed Hammer in the right direction. The finale, with the now desperate Charlotte's attempted seduction of Hammer, is unforgettable.

This is such a tough-guy noir that it almost comes off as a take-off.

I, the Jury concerns Mike Hammer's search for the killer of his friend, Jack. Eventually other people who attended the same party as Jack are killed as well.

From what I gather, this was shown in 3-D some time in 2003, with the star, Biff Elliott (then 80) present. The audience loved it - mainly because all the dialogue is now considered "camp."

One thing Elliot could do was beat up people, since he had previously been a boxer. Just no dimension to the character. I would have loved to have seen someone like Ralph Meeker in this film.

Of note was the very neat opening scene, which I imagine played very well in 3-D. The last scene of the film was very effective as well.

The women in the movie were lovely - Mary Anderson does a good job as Eileen Vickers. Margaret Sheridan was a lovely Velda, and Peggie Castle was a stunning Charlotte, one of the many women in love with Mike. The other performances were okay.

As the first film Mike Hammer, one would assume it brought Elliot attention and, in other hands, could have been a star-making role. Though he continued working for years, it wasn't as a star. Sadly I think better casting would have helped "I, The Jury" immensely.

The first film adaptation of a Mickey Spillane novel, filmed in 3D and starring one of the all-time nobodies, Biff Elliot, as Mike Hammer. He looks like William Bendix's younger brother and acts like Lon Chaney, Jr. in "Of Mice and Men." The selling point of any movie based on a Spillane story, aside from the violence, should be the dialogue. That's true here, with lots of tough noir one-liners. Unfortunately, many of those are bellowed by Elliot, who barges into every scene like he's mad someone made him take this job. Seriously, watch this guy stomp around. Someone hired this moose to act and this is what they got. Even the film's famous final scene is tainted by his inability to deliver a line with emotion.

On the plus side, the movie was photographed by John Alton. He makes the most of the cheap production values. Good use of the Bradbury Building, which is recognizable to fans of films like D.O.A. and Blade Runner. Nice score from Franz Waxman. The supporting cast includes many lesser known actors but there are a few old pros like Preston Foster, John Qualen, and Elisha Cook, Jr. How any of them kept a straight face while that sack of meat was barking at them is beyond me. Attractive Peggie Castle makes an unconvincing psychologist and is even less convincing as a woman attracted to Elliot.

This movie has a lot that prevents it from being great. But all of the other issues combined don't equal the sheer ineptitude of casting Biff Elliot as Mike Hammer. This was his film debut and he never did anything this big again. He worked fairly steady for decades, mostly in television. I have no idea why he was cast. Worked cheap? Saved the producer's life? Knew where the bodies were buried? I don't know. All I do know is he stinks in this.

Quite a surprise, this one, based on the Mickey Spillane book, done very much in the film noir style and shot in 3-D! Actually watching this flat it is only the opening with the dying man crawling towards the camera with his hand reaching forward that I was aware of the 3-D origins and we are swiftly on to an absorbing thriller. Not as tough and sexy as the book but a really decent effort with some super shadowy location filming. Biff Elliot, of whom I had never heard, is fine in the lead, if not sensational but the crackling dialogue and constant action keep things moving along nicely while Peggie Castle is great as the femme fatale. Low budget and maybe nothing too special but tight and bold. Very likable.

The writer of the mass Mickey Spillane had a smashing success of Mike Hammer book series that went mainly to newsstand on cheap cost it gained thousand of readers draw attention of the Hollywood that quickly became a first picture to exploit the famous character, so I, the Jury was the first title went to screen by Parklane Pictures and released by United Artists.

Biff Elliott was cast to the role thru a lawyer that saw him at New York's stage and suggested him for the main character, technically his debut on big screen, Mike the private detective is a former soldier and has his best friend Jack Williams (Robert Swanger) who saves him at war in a bomb that should be blast on Mike, Jack stayed a amputated arm hence, back after war becomes a cop working his chief Capt. Pat Chambers (Preston Forster) leaving the force aftermaths due Mike didn't agreed with sluggishness also so many paper to fill in, when he saw his friend died for some unknown reason it somehow justifies itself in angry backlash.

Mike Hammer is a sort of violent man, short temper and often appeal of punch anybody for a simple offence or even an ironic response, he works a lot in parallel of police aiming for get best results thru short-cuts to solve Jack's murder, he has many applicants, Jack's fiancée the dancer Myrna (Frances Osborne), the twins socialite Mary & Esther (The Seitz Twins) Kalecki (Alan Reed) an antiquarian collector and his bleak sidekick Hal Kines (Bob Cuningham) and a gangster Miller (Tom Powers) and the beauty psychiatrist Charlotte Manning (Peggie Castle) all them were in the party sponsored by Jack Williams before his death by a .45 gun.

What a fabulous closing sequence when the stunning Peggy Castle steals the movie in an unfortable stripping sexy scene, the blind Hammer doesn't realise that his secretary Velda (Margaret Sheridan) was deeply in love on Mike? This movie triggers a sequel "Kiss me Deadly" with Ralph Meeker as Mike hammer whereof I found much better, then the saga continues on few movies only and later became a Series with Darren Macgavin 58-59 and in the early eighties Armand Assante made an obscure remake followed Stacy Keach embodies Mike Hammer on a couple TV movies and an upcoming series and ends up on the nineties come out the latest three TV movies starred by Rob Estes, Kevin Dobson and Brian Keith closing the long saga.

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First watch: 2023 / How many: 1 / Source: DVD / Rating: 7.

I watched this film on YouTube as it is in the public domain. In the UK it was given an X certificate while ' The Wild One ' was banned. The latter was a warning against a group of bikers invading a small town. It does not condone violence and shows how mobs can get out of hand. It was a serious insight into cowardice towards mob control, while this disgusting film takes the attitude that one man can be the jury and the executioner. Not only that but a victim of said jury does a semi-striptease to save her life. The book and its author had a vile attitude towards women, and the camera revels in it. I have read the reviews and am appalled at certain attitudes expressed. This film degrades those who see it and get pleasure out of it. I give it a one because I cannot give it a zero. I am sorry for the women actors involved in this hateful project.

I have just recently finished reading the source novel by Mickey Spillane for this movie. It was in fact the first of his Mike Hammer series of harder than hard-boiled detective thrillers. Now my old dad is, like me, a fan of Raymond Chandler, but when I asked him his opinion of Spillane, he dismissed him with one word "pornography". I get why he would say that as there is a lot of sex in the novel, but I still enjoyed the book and I was curious to see how it was represented on film back in the time when the Production Code still ruled.

I shouldn't have been surprised then at just how eviscerated it would be, for example the Bellamy twin sister's nymphomania is greatly down-played, the smuggling operation which acts as its sort of McGuffin changes from cocaine to jewellery and the climactic final scene (I won't spoil it by painting a picture of it) is also greatly watered down.

These alterations I could accept given the times but for many other reasons the film just doesn't work and that despite the present or the normally excellent John Alton behind the camera. Even he can only work with what he's given it would appear and he just can't elevate this low budget adaptation to what I had hoped for.

The biggest let-down has to be newcomer Biff Elliott as Hammer, who has all the charisma of a used match as he blusters his way around, wearing a belted raincoat it seems, in almost every scene. Peggie Castle does better as the femme fatale of the piece but her wiles are sadly wasted on our wooden hero.

The direction too is unimaginatively static and very studio-bound hence Alton's dilemma and if you want an idea of how cheaply made the film was, look no further than the device to cuts to shots of Christmas cards of all things, to indicate time passing.

Spillane's novels were very popular at the time and a well-made movie of his first book could well have led to a veritable cash-cow of follow-up features but it was no great surprise to me that this turned out to be the end of the line with the character for old Biff.

To paraphrase the old song, if I had a hammer, it wouldn't be this one...

Saw it in Youtube and downloaded it to watch because it was a Mickey Spillane. UGH. Knew the culprit early on but this is not what makes it bad.

Why does any movie in BW get a high rating?

A gun fires through a half-opened door. A one-arm dying man crawls towards the camera while the chair where his prosthetic arm lies moves back unabling him to reach it. In the next scene a man climbs up the stairs to find his army pal shot dead. This is the first Mike Hammer film in 3D and must be seen in 3D to really appreciate its quality. Fortunately there is an exceptionally well restored 3D version that makes of this film a rare noir gem. John Alton photography is breathtaking, especially in the zenithal shots - view from the top of the Bradbury Building (that has appeared in many other films such as D. O. A.) is simply stunning in 3D - and use of shadows. Light contrasts are superb. Although Alton won an oscar for An American in Paris his photography work for black and white movies is powerfully shocking.

No "tricks" here like a fire torch splashed into the camera eye. Any 3D detractor should watch this movie. Not the usual 3D method of emphasizing certain elements and relegating others was employed but all of them are in relief instead. The opening scene with the firing gun is maybe the only license to that use. The result it is an exciting watching experience that brings the whole set to life by highlighting every single element. 3D experience upgraded.

As for the cast, Biff Elliot plays decently although wooden a tough, rude and violent Mike Hammer, boxer- type (he had been a boxer himself in his youth). Peggie Castle plays a psychoanalyst and does an excellent femme fatale, Preston Foster has a small but solid role as a police captain and Margaret Sheridan is the ever- efficient Hammer secretary (Perry Mason's Della Street type). Role of the dead man was played by real life single -handed Robert Swanger in his only screen appearance.

Based on Mickey Spillane's book I, the jury some facts were changed - cocaine traffic to jewelry smuggling, twin sisters' nymphomania and Hammer's final shot from spontaneous to in response to be almost killed.

Special mention for the 3D-inside-3D view-master type shot surprise gem. This scene only makes the movie worth watching in 3D only and an enjoyable experience for any 3D and view master fan. Do not miss it.

I consider this film to be the best one about Mike Hammer, with Biff Elliott's performance the definitive Mike Hammer. Harry Essex's script is excellent and contains many improvements on Mickey Spillane's novel. His direction is strong and imaginative, and he makes fine use of light and shadow. The camera work by John Alton is top-notch, as is the score by Franz Waxman. The cast includes many veteran players, as well as Peggie Castle in her memorable performance as Charlotte Manning. All in all, this is one of the finest private eye films ever made. Biff Elliott and Haary Essex should have received more opportunities. I have always treasured this film.

This 1953 film is the first screen depiction of Mickey Spillanes famous detective character Mike Hammer and the only "film noir" I know of that was filmed in 3D. Other than that and the films memorable closing and opening scenes, this film isn't much. Most the cast is good, but the problem lies with the totally mis-cast Biff Elliot as Mike Hammer. He is to young and boyish looking. Ideally, Mike Hammer should be played by someone in their mid thirties or forties; old enough to have grown jaded and world weary, but still young enough to woo the babes and take the punches. Biff Elliot looks and acts like he just got out of detective school. Parklane productions blew it by casting Elliot, who not only wasn't the right type but an actor who never had any screen presence. No wonder he mostly never got more than bit parts after this. Being the first actor to play Mike Hammer is about the only role anyone recalls when his name comes up. Parklane did right in the next Mike Hammer film by casting Ralph Meeker. Even Robert Bray (MY GUN IS QUICK) made a more convincing Mike Hammer. In fact, even Armand Asante was better.

I've seen pretty much every version of Mike Hammer on film over the decades, yet this somehow became my favorite! Biff Elliot is tough, brutal, unstoppable, yet also honest, loyal and incorruptible. Faced with an impenetable mystery-- HE figured it out! What a guy!

Margaret Sheridan ("THE THING FROM ANOTHER WORLD") also became my favorite Velda. Smart, dependable, and no slouch in the looks department. Preston Foster may also be my favorite Pat Chambers. He tells Mike to follow the rules... then goes out of his way to help him break them. What a pal!

When it comes to murder mysteries, I'm usually good-- but this one left me completely in the dark. It eventually made sense... after 6 or 7 viewings. But that's not what this film is about. It's all about mood, and suspense, and watching Mike steamroll his way thru suspects and beatings until he knows who killed his best friend... and what he has to do about it.

Among the supporting cast are Peggy Castle (the too-cool psychiatrist), Alan Reed (the mobster), Joe Besser (the elevator operator), Nestor Paiva (the bar owner), Elisha Cook Jr. (the innocent halfwit someone tries to frame as part of the mob).

This film is DARK, in more ways that one. Mike's office is in the Bradbury Building (also seen in such films as "MARLOWE", "BLADE RUNNER", and the Outer Limits episode "Demon With A Glass Hand") and is the scene of a BRUTAL fight scene near the climax.

WHY was this team not brought back for the other 2 Hammer films of the 50s-- or the 50s TV series? WHY has this fallen into public domain, without a proper video release? WHY is Hammer hated by so many critics, yet loved by so many fans?

For many years, I put up with a terrible TV print with commercial breaks. Now I have it on DVD, and I may never stop watching it.

Addendum / 11-19-2023: As of November 2022, ClassicFlix has put out the first-ever official release of this, a brand-new scan & restoration Blu-Ray with optional 4K and 3D versions (the latter requiring both a 3D player and TV). It's in WIDESCREEN, it's got crystal-clear picture & sound, it's absolutely-STUNNING, and it's long overdue.

And, it's got lots of extras, including the comparitively-inferior 1954 unsold TV pilot with Brian Keith. (I can see why that didn't go to series. The 1958-60 Darren McGavin series was infinitely-better. McGavin & Bart Burns are the only actors I currently like even more than Elliot & Foster as Mike & Pat!)

This was a normal tough as nails PI on the hunt flick of the times...With many familiar faces, Nestor Paiva, Peggy Castle, John Qualen, Preston Foster, etc. There's nothing much that stands out, watch it on AMC or whatever sometime and you will swear you have seen it before, even if you haven't.

Point of trivia-Biff Elliott apparently lived in the Northern Maine town of Presque Isle(where I'm from actually), and word has it they premiered this flick there in '53! It was a big time celeb event, for a town of about 12,000 at the time-it hadda been as if the Super bowl had come to town!

** outta ****.