I saw this film in a King Vidor season at London's National Film Theatre nearly thirty years ago, but the only detail I could remember was the shots of the dog's eyes glowing in the dark near the end.
Based on a best-selling novel by Joseph Hergesheimer, this nonsense gets far better treatment than it deserves under the direction of the great King Vidor, with superb photography by John W. Boyle both on location and in and around a crumbling Georgia mansion created by veteran MGM production designer Cedric Gibbons; all beautifully tinted.
Virginia Valli makes an attractive heroine, but Charles A. Post is far too personable to be convincing as the local homicidal brute, and would have effortlessly crushed hero Frank Mayo in a straight contest, (SPOILER COMING:) so the final punch-up between them - spectacular though it is - goes on far too long for plausibility; deprived of his gun Mayo wouldn't have lasted five seconds against him.
Based on a best-selling novel by Joseph Hergesheimer, this nonsense gets far better treatment than it deserves under the direction of the great King Vidor, with superb photography by John W. Boyle both on location and in and around a crumbling Georgia mansion created by veteran MGM production designer Cedric Gibbons; all beautifully tinted.
Virginia Valli makes an attractive heroine, but Charles A. Post is far too personable to be convincing as the local homicidal brute, and would have effortlessly crushed hero Frank Mayo in a straight contest, (SPOILER COMING:) so the final punch-up between them - spectacular though it is - goes on far too long for plausibility; deprived of his gun Mayo wouldn't have lasted five seconds against him.