ACROSS THE BRIDGE (1957)

This slightly longer-than-necessary, one-hundred-three-minute British film is notable for Rod Steiger's gravitating performance along with some interesting camera positions and closeups in the film's early stages. His intensity for offbeat, often volatile characters is legendary though his range seemed to have few boundaries. All other characters fade by comparison. Yet for this film, he is almost an absurd figure of illogical attitudes and intents while channeling fellow method actor, Brando. His German accent is no better than Artie Johnson from Laugh-In television fame with his, “Vely Intelesting” signature comment. Perhaps another signature role though the film's believability factor suffers as he crosses America by train where the panicked Steiger is placed in some forced, compromising suspense sequences as he begins his cowardly escape from justice. Not to say it is not exciting.

Based on a short story of the same name by Graham Greene, the film was produced by The Rank Organisation and directed by Ken Annakin and filmed at Shepperton Studios, Middlesex, England, UK, and in Spain. The set-up is quite engaging as Scotland Yard arrives with embezzlement charges at Steiger's British office. The doors are opened, providing visual evidence they have the right man as they witness a self-aggrandizing floor-to-ceiling “Stalinesque” self-portrait of himself. The music score supports their shocking revelation. Steiger gets the warning while at his New York office. With inevitable escape procedures already in place, he arranges his immediate departure to Mexico for a three-month hideout. Scotland Yard sends an inspector across “the pond” to apprehend the condescending embezzler.

The scheming egoist assumes the identity of a rail passenger by matching the duped man's passport picture allowing him to cross the Mexican border. In a heinous act, he shoves the drugged passenger from the speeding train. Steiger retains the passenger's suitcase for identity purposes with a plan to dispose of it alongside the road. It snaps open revealing that the man is wanted in Mexico for the assassination of a Mexican governor. His unfortunate twist. Perhaps a major miscue, Steiger's sweaty fingers have apparently lost the man's passport. But it gets worse. The man survived his abrupt train departure. Rescued and secretly treated by his “personal” doctor, the assassin is recovering in a singular motel along a Texas thoroughfare. Bandaged and in traction from head to toe—similar to the final scene in Its a Mad, Mad, Mad, Mad World—the man is threatened by Steiger at gunpoint for his passport.

There is a fair amount of assuming throughout the film. At least one Porter on the American train has a British accent. We can assume he found work overseas. Another character slips in and out of a faint British accent though he is a lifelong Texas resident. One could also assume he arranged for his French-speaking girlfriend to join him on the prairie. Steiger gets apprehended at the Mexican border and the authorities assume he is their wanted man. But the smug thief tells them who he really is. They could care less. Steiger is further stunned. The assassin's wife confesses he is her husband! Hard to believe there was not an initial question about why he was assuming that particular man's identity. Finally, Steiger's angry demands assume he is above the law, even offering a bribe to the Mexican police chief to get “his” passport back.

The police chief and the British inspector conspire to keep Steiger trapped in the Mexican border town in an effort to pressure him into escaping across the bridge back to America for prosecution. But the agreement is a one-sided affair in Mexico’s favor. He is never getting out of Mexico. Steiger is content to settle in the town for as long as it takes. His wealth buys him whatever he desires until the political assassin’s body is returned home, killed in a Mexican raid at the motel. I am not sure why the townspeople feel Steiger is responsible for leaving behind a widow and child, but they band together, refusing his money or his existence.

Note: After assuming that unfortunate identity, Steiger is unaware he is now the owner of an adorable spaniel. Rather risky when the baggage car handler has to remind him not to leave his previously fawned-over pet behind. The dog seems to recognize the impersonated face and follows him around town. When Steiger disposes of the assassin's suitcase, he also tries to leave the dog behind. Weary and exhausted from escaping, his life is spared by the whimpering dog, alerting the dozing criminal of a scorpion on his trousers. Steiger has a change of heart toward the dog and it eventually becomes his only friend. Yet the catalyst for his death.