This film opens ominously late at night behind a contemporary, driving score with modern fonts. It has the intriguing feel of a possible Cold War drama. An Army truck comes to a halt near London and out pops Victor Mature with his trademark countenance of superior sarcasm. His momentary heavy eyelids are not from an all-night drive. This will be his last delivery for the U.S. Army and with his discharge sets his sights back on returning to America. His British wife would rather stay put to raise their family. After a moment of heated discussion, Mature realizes staying put is best for their marriage.
His lorry driving comes to an abrupt end, through no fault of his own, after an incident places Mature on Britain’s “do not call list.” Desperate for living money he gets involved with a smuggling operation run by Patrick Allen. Allen’s girl, Diana Dors, has been under his control for some time. He treats her like any of his property. Keeping her looking cheap is anything but. In an intense exchange, she walks out on him and hides in Mature’s lorry. Mature opens the driver’s door and the arrangement is not to his liking. She insists on going to any place else. She prefers a mature man much to Allen’s ire and they begin an on-again, off-again affair with Mature’s marriage taking the brunt.
Always scheming, Allen wants to complete a money-making long haul of hot furs and a sizable cash reward persuades Mature to drive. The middle seat is cushioned by Dors. How the three of them continue to get along is a wonder. The time-sensitive delivery through forest and mountain shortcuts is exciting with literal cliffhangers at every turn. They cross a stream but get stuck on the embankment coming out. While Mature is trying to free up a wheel, Allen diabolically lets the lorry roll backward, hoping to mash Mature. A fistfight ensues with neither actor appearing to use a stunt double as they slosh around the water's edge. Allen is hit by a sliding container from the truck bed and then smothered under a mountain of falling fur boxes and drowns.
After delivering some soggy furs to the cargo ship on time, Mature and Dors take a cab back to town. Their route back was the better one for that fur delivery in hindsight. She begs him to run away with her. The money he got from the long haul is meant for his wife as a final goodbye gesture. Dors delivers it and his wife delivers a slap across her face. Dors overhears talk of Mature’s son’s health (an earlier blow to the head from a fall has turned serious) but she is hesitant to mention it upon reentering the cab, which is a pretty low-down. He knew nothing of the illness and would not leave his wife and son despite his impending arrest. Dors returns to her nightclub gig and all live not so happily ever after.
Mature was more than halfway down the slope of his long-haul career and with a couple exceptions, this might be his best late-career serious role. It is hard to fault him in any of his prior projects, where he usually dominated the screen. Although at times self-deprecating about his career, he turns in a solid performance for a script that takes its time to unravel. Dors’ acting and vocal range cannot be faulted. She seems out of place in a crude trucker's cafe. Like burning magnesium, she is not hard to spot. Most posters used her image as a catalyst for ticket sales.
Note: Hollywood continued churning out this tired premise of the weak male having an affair. They have left out the weak part since, suggesting it is inevitable behavior. Guilt is still a conscience bender in late Fifties Hollywood.
His lorry driving comes to an abrupt end, through no fault of his own, after an incident places Mature on Britain’s “do not call list.” Desperate for living money he gets involved with a smuggling operation run by Patrick Allen. Allen’s girl, Diana Dors, has been under his control for some time. He treats her like any of his property. Keeping her looking cheap is anything but. In an intense exchange, she walks out on him and hides in Mature’s lorry. Mature opens the driver’s door and the arrangement is not to his liking. She insists on going to any place else. She prefers a mature man much to Allen’s ire and they begin an on-again, off-again affair with Mature’s marriage taking the brunt.
Always scheming, Allen wants to complete a money-making long haul of hot furs and a sizable cash reward persuades Mature to drive. The middle seat is cushioned by Dors. How the three of them continue to get along is a wonder. The time-sensitive delivery through forest and mountain shortcuts is exciting with literal cliffhangers at every turn. They cross a stream but get stuck on the embankment coming out. While Mature is trying to free up a wheel, Allen diabolically lets the lorry roll backward, hoping to mash Mature. A fistfight ensues with neither actor appearing to use a stunt double as they slosh around the water's edge. Allen is hit by a sliding container from the truck bed and then smothered under a mountain of falling fur boxes and drowns.
After delivering some soggy furs to the cargo ship on time, Mature and Dors take a cab back to town. Their route back was the better one for that fur delivery in hindsight. She begs him to run away with her. The money he got from the long haul is meant for his wife as a final goodbye gesture. Dors delivers it and his wife delivers a slap across her face. Dors overhears talk of Mature’s son’s health (an earlier blow to the head from a fall has turned serious) but she is hesitant to mention it upon reentering the cab, which is a pretty low-down. He knew nothing of the illness and would not leave his wife and son despite his impending arrest. Dors returns to her nightclub gig and all live not so happily ever after.
Mature was more than halfway down the slope of his long-haul career and with a couple exceptions, this might be his best late-career serious role. It is hard to fault him in any of his prior projects, where he usually dominated the screen. Although at times self-deprecating about his career, he turns in a solid performance for a script that takes its time to unravel. Dors’ acting and vocal range cannot be faulted. She seems out of place in a crude trucker's cafe. Like burning magnesium, she is not hard to spot. Most posters used her image as a catalyst for ticket sales.
Note: Hollywood continued churning out this tired premise of the weak male having an affair. They have left out the weak part since, suggesting it is inevitable behavior. Guilt is still a conscience bender in late Fifties Hollywood.
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