THE CROOKED WAY (1949)

This is a tough film noir set in Los Angeles. The dark shadows and odd camera angles are well recorded by other reviewers, but it is John Payne’s search for his identity which makes it a little out of the ordinary. He plays a WWII veteran whose past is completely wiped away by a piece of shrapnel in his brain. Permanent amnesia. He is treated by Dr. Kimble at the Letterman General Hospital. Not amusing at all in 1949. He leaves the hospital with his correct first name but a new last name yet is recognized and apprehended by police Lieutenant, Rhys Williams. Payne plays along with no idea where it will lead. His initial meeting with Ellen Drew is an eye-opener. She is his former wife. Payne levels with her about his amnesia but the trust is not there. She knows his past too well. I always thought Drew looks somewhat like a cross between Jane Greer and Loretta Young.

Crime boss, Sonny Tufts, had a long-time friendship with Payne until it turned sour when Payne betrayed him. Tufts figures it is payback time. His performance is one to remember but rarely gets due credit. Payne is whisked away to Tufts home not knowing who he is. After being pummeled, then kicked down the fire escape stairs, that sort of behavior from a total stranger sends a message and Payne begins to realize that his past has some kinks to work out. The two encounters between Tufts and Williams are fun. Tufts looks quite calm and content during his self-manicures. Their cat-and-mouse conversations are gems. Each holding their disdain for the other in check. Seeing Williams “accidentally” knock over a pitcher of water in Tuft’s lap is beautiful.

The rotund, sandpaper-voiced tenor, Percy Helton, has a history with Payne. And pain. A man with no courage and a nagging cough. Or is it a fur ball shared with his cat, Samson? Under duress, he tries to shelter Payne but with little success. Near the end of the film, the police have Helton’s shopfront riddled with bullets to get Tufts’ and Payne’s attention. The latter is half-unconscious after several blows to the head from the former. Tufts drags Payne out the front door using him as a shield. The police demand his surrender. With no such intentions, Tufts’ maniacal rage is captured nicely in tight, sweaty close-ups. Now, in full view of the police, out crawls Helton through the door after being shot by Tufts’ men. He is the only human moving during that scene. How he could go unnoticed is funny. The police do not ask him to stop or why he was crawling through the front door with a gun in hand. Helton manages to get a shot off toward Tufts. The police take it from there.

Note: This top-notch crime film was distributed by United Artists and produced by Benedict Bogeaus, and directed by Robert Florey. The screenplay is by Richard H. Landau based on the radio play "No Blade Too Sharp" by Robert Monroe. The cinematography by John Alton is a standout element of the film.