dglink An inept film that represents a major come down for its leading actor, "Who Killed Teddy Bear?" tries to be a moody psychological thriller, but ends up a seedy confused melodrama that dribbles to an unsatisfying finale. After a shadowy chilling opening, the first half is padded out with disco scenes that illustrate 1960's music and dancing at its worst and with a lengthy walk through New York streets intended to emphasize the lead female character's serious ambitions to get a role on Broadway. In contrast, the second half of the film lurches and jumps from one unrelated scene to another, leaving enormous plot holes and dangling threads in its wake.As Lawrence Sherman, a nightclub busboy, Sal Mineo, whose credits include Oscar-nominated performances in "Rebel without a Cause" and "Exodus" does well with what little he is given by Arnold Drake's inadequate script. Inexplicably, Sherman lives with his mentally challenged sister, although any connection with the revelation that he is also a stalker and voyeur dangles among the film's many frayed threads. Mineo often resembles a young Marlon Brando, both in looks and the intensity of his performance. Despite the unsavory role, Mineo's talent is apparent, especially in contrast to the total lack elsewhere in the cast with the exception of Elaine Stritch, who also manages to rise above the wreckage; her brief, but intelligent performance as a nightclub manager shines. As Norah Dain, lovely Juliet Prowse is the center of attention for Stritch, the police lieutenant, assorted drunks, and the voyeur. While she displays her considerable dancing skills in one short scene, Prowse's acting chops pale in comparison. However, in fairness, the script prods the actress into erratic inexplicable mood shifts with little motivation; her swings occur with a suddenness that would give Meryl Streep whiplash. Jan Murray's performance as Lt. Dave Madden is best left unmentioned, and Margot Bennett is embarrassing as Mineo's sister.The moody black and white cinematography is often effective in capturing the seediness of 1960's 42nd Street, and near abstract close-ups suggest an unrealized artistic intent on the part of director Joseph Cates. The latter half of the relatively short film hints at either major censorship cuts or a budget shortfall; a grainy Times Square police chase using a taxicab rather than a squad car suggests the latter. Scenes are cut off inexplicably, and actors are suddenly elsewhere without explanation. A murder goes practically without mention, which leads to an abrupt ending that is beyond comprehension. Evidently, the writer just ran out of ideas, and the director yelled "cut." "Who Killed Teddy Bear?" would be better titled "Who Killed Sal Mineo's Career?" The film is a sad late entry for an actor who began with such promise.

Falconeer Here is one of the lost gems of the early 60's. Joseph Cates "Who Killed Teddy Bear" is a dark, seedy, and sex obsessed oddity that must have unnerved audiences in it's day. The sexy Nora Dane, played by Juliette Prowse, is receiving some very disturbing phone calls, complete with heavy breathing and some obscene suggestions. She doesn't know who this man is, but he seems to know a lot about her, like her name, where she lives, where she works, and what she looks like in her underwear. Elaine Strich plays the tough talking owner of the swinging nightclub where Nora works as a deejay. Her interest in the young Nora goes beyond simple friendship. After the mysterious phone calls become more threatening, Nora consults a detective, who has his own perverse obsessions. And then there is Lawrence, played by Sal Mineo, a shy and polite busboy who works at the club with Nora. And Nora seems to be the center of everyones obsessions, probably due to the fact that she seems to have no interest in sex at all. "Who Killed Teddy Bear" is filmed with an incredible amount of style, in shadowy, dreamlike black & white. For the segments featuring the obscene phone caller, the camera lens actually seems to be fogged up from the body heat and animal lust of the near naked stalker, as he lies on his bed and enjoys the sound of fear in the woman's voice, as he describes what he wants to do to her. And then there are the amazing shots of New York city, by day and night. Everything is light and shadow, lurid and overwrought. This is classic film noir, and it's low budget only adds to it's unique appeal, and adds an extra level of sadness and desperation to the tale. Sal Mineo especially, is outstanding here, as the sexually messed up loner, who lives with his retarded sister in a gloomy apartment. Why Sal never made it on the same level with James Dean and Brando, I cannot understand. This guy always turned in a great performance in everything he did, and possessed an incomparable screen presence. i recommend 'Teddy bear' to people who love cinema, and who have an appreciation for the art of film making. Though it is difficult to find, as there has never been an official video or DVD release, and most likely never will be. There are various online distributors selling bootlegs of this and other Sal Mineo titles, ranging from very good to poor quality. See this if you can. It's unforgettable.

olddiscs I couldn't believe how this unrecognized unheralded film of the mid 1960s captured the sleaziness & the downfall of NYC during that time The photography is amazing.. the score capturers the early disco era... Sal Mineo is unbelievably sensuous, erotic, neurotic, as is Elaine Stritch who plays the Lesbian, Marian wonderful performances.. Juliet Prowse is good in this role..Plot is a bit confusing.. and why did they cast Jan Murray (great TV comic game show host of that era) in this role? Ill never know.... But as I stated before, this film captures the sleazy, unclean, dark, cold snowy sado masochistic, days of NYC in the mid 1960s when that city was on the decline.. Broadway might have been booming, Babs was on B'WAY live in Funny Girl, The Merm was still around. ETC .but the side streets, the crime, the sex shops were running abound..this film captures it all..worth seeing and or buying if it becomes .. available, Bravo ,Sal Mineo. Elaine Stritch, and the director...

big_bellied_geezer Read Son of Cathode's review as he has it right about this great piece of film making that has somehow gone mostly unnoticed by those that fancy dark and gritty films. This film delivers in spades and in my final estimation, I can only add to what others have said before me in saying this was way ahead of it's time when one considers technique.However, if this was attempted to have been made let's say in 1976 as opposed in 1965, it might of lost something in capturing the gritty underbelly which was somewhat different than the gritty style of a decade earlier and the finished product might have been too slick and obvious for 1976. I'm glad that the film makers were bold enough to have taken on such a project when they did it in 1965 and this film stands as a testament to their boldness. Look online at some of the big online auctions and you can commonly find this title now days for under 20 bucks and well worth it as this is a must see film for those who REALLY like the noir style.