Anthony Mann directs another tough crime noir starring Dennis O’Keefe, a prisoner soon to break out unscathed. Claire Trevor is his contact once back on the streets. Her character is full of angst and self-obsession. She voices her inner thoughts throughout the film accompanied by the mental instability sound of a Theremin instrument. It gets more amusing with each use, finding it easy to substitute Madeline Kahn in the role. Front and center is O'Keefe's prison caseworker, Marsha Hunt. Aside from today's perceived unintentional humor, this film is hardly forgotten for the obvious first-rate production and one of the best crime roles of O'Keefe's career. It is another successful film noir from Edward Small Productions.
In the course of his late-night escape, O’Keefe stops at Hunt’s home. His break-out is not what she recommended and she attempts to call the police for his own protection. But he abducts her and, along with Trevor, the trio swaps cars and escapes a roadblock as expected. Trevor, insecurity personified, is jealous of Hunt and wants her removed however possible. At least not have her sit in the middle of the front seat.
Turns out, the escape was set up by mobster, Raymond Burr, and facilitated by Trevor. He figured O’Keefe would not escape successfully given the odds. Once again Burr plays a sadistic psycho, a despicable bully who is also terrified when told of the successful escape. He wants him taken-out so he does not part with the 50k due him. Burr decides to send his hired gun, John Ireland, in his place to finish him at the designated payoff location. The ensuing intense and believable fistfight does not go down in Ireland’s favor. Though Hunt carries a torch for O’Keefe, he knows his life is more suited with Trevor. Dang it. To keep Hunt safe from harm he sends her back to Los Angeles. But she is recognized by Ireland en route and brings her back to Burr as leverage. O’Keefe seems as ruthless as Burr in the beginning but Hunt’s persuasive nature softens him a bit as the film progresses.
Meanwhile, waiting for their ship to set sail for Mexico, Trevor answers a call from Burr’s mouthpiece who says that Hunt is in grave danger unless O’Keefe makes an appearance. Trevor, in another self-centered decision, lies about the call. O’Keefe is resigned to spending an “eternity” with Trevor, mumbling about what might have been. Her face silhouetted in shadows, "Miss Theremin" reminds us that he will always be thinking of Hunt and her inner thought audibly blurts out her name for O’Keefe to hear. Quicker than he can say “What is wrong with you, lady?!” he slices through a thick fog of thugs and bullets to confront "Big Burr." Burr is cordial. Sweating. In the darkness, after saying he is unarmed, shoots O’Keefe, who returns fire. A stumbling O’Keefe locates Hunt before Trevor arrives to finish out the film.
Note: This is an essential B-movie noir. Many in-depth reviews single out all the excellent work in this production. Here is a couple I have noted. Shots of Burr from a low vantage in his enormous suit present a good case for widescreen. The cinematography by John Alton, like in the image above, is very artistically done, and full of underlying meaning. The low budget is obvious at times with matte paintings or projection backgrounds, but it is balanced by more important location shoots. The film is not that predictable but several standard devices are used once again. I never understood the logic of holding a loaded gun on a driver when going through a police roadblock. The criminal is not going to attract attention by shooting. It is pure silliness.
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