For its sub-genre of TV movie, A Tattered Web is pretty great. It’s a dirty cop story, only the dirty cop—Lloyd Bridges—is only a dirty cop because he’s trying to protect himself from a murder change and he’s only trying to protect himself from a murder charge so he doesn’t upset his daughter (Sallie Shockley). See, Bridges only killed this woman Anne Helm because Helm was sleeping with Shockley’s husband, Frank Converse. And Bridges didn’t even mean to kill her, he was just shoving her against the wall and, boom, somehow killed her. It was an accident. And Bridges was really about to call it in before he realized he didn’t want to go to prison; even if he got a jury sympathetic to the manslaughter nature of it… Bridges was there to harass Helm for sleeping with Converse. He was abusing his authority big time. And Web is from the early seventies so theoretically he might get in trouble for it.
So the movie is Bridges trying to stay ahead of his partner, a better than his material Murray Hamilton, while trying to convince Converse there’s another murderer—because the cops are after Converse because he’s the lover—and trying to make sure Shockley doesn’t find out about Converse and Helm. There’s always a lot going on in Tattered Web; it’s got a great pace.
It’s also got a rather strong script. There are a lot of narrative shortcuts and whatnot—it’s a seventy-some minute TV movie, after all—but writer Art Wallace still takes the time to have Bridges, now fully conspiring with Converse and framing an innocent man (Broderick Crawford), there’s still this scene where Bridges just gleefully watches Converse get his ass kicked. Even though the subplot doesn’t do much for the story, Web does have this one about Bridges becoming a violence junkie. It’s not great, writing or acting, but it’s weird and imaginative and you can cut it some slack. It’s nice Wallace cares enough to do character development, which isn’t just for Bridges.
Though Bridges also has this great one about the self-loathing his cover-up is causing. There’s visible pain in Bridges’s face when he manipulates Crawford. It’s often a good performance; Bridges isn’t phoning it in. He gets carried away but only slightly. If he doesn’t rein it in himself, it’s like the film’s Converse standing by to pull Bridges back.
Converse gives the best performance. It takes him a while to get going—as he’s doing more dick things at the beginning—but then he starts getting actually good. Shockley you wish was better because she’s clearly capable of it (she pulls off the weird infantilizing interrogation scene she has with Hamilton), but she gets abandoned for the end.
The end is a drag down fist fight on cliffs overlooking the Pacific. There’s no room for girls there, just the men who have to prove themselves. It’s a poorly done action scene—Bridges’s stunt man has brown hair versus blond—but it’s a great idea in the narrative.
A Tattered Web is all right.
Directed by Paul Wendkos; written by Art Wallace; director of photography, Michel Hugo; edited by John McSweeney Jr.; music by Robert Drasnin; produced by Bob Markell; aired by the Central Broadcasting System.
Starring Lloyd Bridges (Sgt. Ed Stagg), Frank Converse (Steve Butler), Sallie Shockley (Tina Butler), Murray Hamilton (Sgt. Joe Marcus), Broderick Crawford (Willard Edson), Anne Helm (Louise Campbell), John Fiedler (Sam Jeffers), Val Avery (Sgt. Harry Barnes), and Whit Bissell (Mr. Harland).