In the Salinas Valley, in and around World War I, Cal Trask feels he must compete against overwhelming odds with his brother Aron for the love of their father Adam. Cal is frustrated at ... See full summary »
Dublin, 1922. Gypo Nolan, strong but none too bright, has been ousted from the rebel organization and is starving. When he finds that his equally destitute sweetheart Katie has been reduced to prostitution, he succumbs to temptation and betrays his former comrade Frankie to the British authorities for a 20 pound reward. In the course of one gloomy, foggy night, guilt and retribution inexorably close in... Written by
Rod Crawford <firstname.lastname@example.org>
RKO was highly dubious about the project, given the depressing subject matter and the pathetic lead character. However, following the success of John Ford's The Lost Patrol, the studio agreed to stump up the budget for the film, provided it didn't cost any more than $250,000. Ford had to forgo his own salary to ensure that the film met that budget restriction. The film came in at $243,000. See more »
Frankie McPhillip tells his mother he travelled to her house via O'Connell Street. In 1922, the year the movie is set, O'Connell Street was still offically called Sackville Street, but the Irish Home Rule Party had unsuccessfully attempted to change it to "O'Connell Street" prior to this and this name was commonly used by nationalist Dubliners. See more »
Ah, Gypo, what's the use? I'm hungry, and I can't pay my room rent. Have you the price of a flop on you?
What's the use? Ah. don't look at me like that, Gypo! You're all I got! You're the only one. You know that. But what chance do we have to escape? Money! Some people have all the luck!
[Indicating the ad in the travel agency window]
Look at that thing handing us the ha-ha! Ten pounds to America! Twenty pounds and the world is ours?
What are you saying that for?
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A thought-provoking drama of desperate living, paranoia, and the consequences of one's actions, John Ford gives the film an appropriately dark atmosphere, and the sets have a nightmarish quality to them. As McLaglen stumbles half-drunk through the night, everything around him shows his feelings. His character tends to often feel guilty, but at other times he feels in the mood to celebrate. He is overcome by a wave of different emotions, upset from different things. McLaglen handles all of this very well, giving a startling realistic performance that is good enough to provide some compensation for Margot Grahame's over-acting. However, this is just the one character that is complex and fascinating. The supporting characters all are very thin, and the romance between Foster and Angel adds nothing to the tale. Even so, this is very effective film-making, with some clever use of dissolve editing and a haunting music score by Max Steiner. It is overall quite an effective film about moral play, desperation and responsibility.
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