2 Comments

  1. Sam Juliano

    “Duryea delivers in a role where what is not expressed is where the action is.”

    And this is what would surely elevate this intriguing noir, which I know is available on the Film Noir Classics III collection. I have not seen it to this point, but am taken with your warming B classification and the beautiful writing (seriously!!) that you have economically employed to do this film full justice. The idea of ‘decency’ as a dark passage to destruction is certainly in the noir wheelhouse, though it the context of this film it is seemingly unique. I like the use of the flashback too and will take note when I do get to the film. I also am taking note of the unusual “noir tenderness” present in the film’s relationship and of the reliable work of Martha Vickers. I have also heard about Mansfield’s work in this film, which some have apparently regarded as among her best performances.

    I was also quite interested in reading this assessment:

    “This low-budget film is now appreciated for being one of those extravagantly stylized late-period noirs, one which palpitates with flamboyant cinematic technique, thanks to the ability of Paul Wendkos (in his directing debut) to create many stunning edits (he is also credited as the film’s editor), several strikingly composed shots, and a suitably seedy background under a clear Orson Welles reminiscence. However, the film remains somewhat unknown and mostly unavailable.”

    Anyway, kudos on this exceptional, superbly-written review Tony!

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