Shack Out on 101 (1955)

Shack Out on 101 (USA, 1955) 80 min B&W DIR: Edward Dein. PROD: Mort Millman. SCR: Edward Dein, Mildred Dein. MUSIC: Paul Dunlap. DOP: Floyd Crosby. CAST: Terry Moore, Frank Lovejoy, Keenan Wynn, Lee Marvin, Whit Bissell, Jess Barker, Donald Murphy, Frank DeKova, Len Lesser. (Republic Pictures)

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It is customary for us to jeer at old “red scare” propaganda, even though there were times in our recent history where can understand why our ancestors predicted imminent danger. However, Shack Out on 101 appears to have purposely been played for laughs… most of the time.   

This irresistible trash classic takes place almost entirely inside a run-down diner alongside Highway 101, where its waitress Kotty (Howard Hughes’ former belle Terry Moore) spends her shift dodging everyone’s advances. Her affections mostly belong to the amorous yearnings of Professor Sam Bastion (Frank Lovejoy). Still, whenever that relationship runs cold, she gets gentle proposals from George (Keenan Wynn) the owner of the greasy spoon, and all the time, she dodges the lecherous mitts of the cook, the aptly-named Slob (Lee Marvin), whose characterization has much to do with this film’s ongoing midnight appeal.

The restaurant staff also lives on the property- therefore Kotty’s world becomes a 24/7 reality of unwanted attention. Right from the opening, where Slob comes up to snuggle up to Kotty, while she is sunbathing on a rocky beach behind the diner at what appears to be dusk, we’re expecting this to be some kind of wild comedy. And yet, the relaxed performances within the film’s single location give the essence of a genial repertory company acting out some light dinner theatre whimsy. Even though Slob and George don’t particularly like one another, there are amusing moments where they clown around. Look at the elongated scene in which the two brag to each other how macho they are while lifting weights, yet hurriedly put on shirts the minute Kotty walks into the room.

Even when the suspense subplot kicks in, and the film turns serious, we may still occasionally giggle in amusement, with all the sleazy stock 50s saxophone suspense music, and the use of a harpoon to save the day. It brings to mind another great 1950s cult film, High School Confidential, which is often hysterically campy, then surprisingly sober at the correct moments. 

After Sam’s colleague at the university is murdered over some microfilm, an espionage plot unfolds within the confines of this fleabag diner and soon everyone wonders who they can trust. The singular location setting adds to the milieu once the espionage gets going. We genuinely fear for Kotty’s safety, as she is trapped alone with her foe, out in the middle of nowhere. Her home becomes her prison. 

The seedy cinematography by the great Floyd Crosby is actually an asset to the lurid moments and the element of danger lurking nearby. All of the tomfoolery in evidence can easily subside to terror. To paraphrase the intrepid Sam Bastion, “While we were too busy having fun, these monsters found a way to keep growing in this society.” As in other 1950s scare films or fantasies, the true alien terror is from within, not from Venus. As much as we can laugh at a lot of the dated propaganda, we can see much of ourselves in these uneasy, frightened people, as now the monster really did roar.

All told, Shack Out on 101 is more than just Alice with attitude. And besides, what is a 1950s movie without beloved character player Whit Bissell, as one of the diner’s regular customers?

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Originally published in Vol. #1, Issue #6, “The Second Annual Summer Drive-In Issue”.