A former Spanish Civil War prisoner, John McKittrick arrives in New York to find the truth behind the death of his friend Louie Lepetino. He finds himself being chased by Nazi agents who want an item he has brought back from Spain and cannot give up. When another of his friends is murdered, McKittrick realizes that he cannot trust anyone around him - not anyone. Written by
Jim Beaver <email@example.com>
Long before the "method" style "invaded" the acting profession, there were many equally fine performers which came before the mid-'50s "movement."
These "predecessors" didn't wear their craft-on-their-sleeve as much; in fact, many (like Tracy, Ryan, and Cagney) behaved so naturally, it was as though they were speaking their own lines. One such earlier talent was John Garfield.
A consummate performer, Garfield could seemingly do no wrong--not make one false move. In film after film, he didn't appear to be acting; rather he was just "being" the character.
Although "The Fallen Sparrow" isn't one of Garfield's greatest parts or films, he's on target in every scene. Yes, it's called "talent, star quality," and Garfield's got "it."
With a respectable "noir" script, and peopled with a solid cast of leads and supporters, "Sparrow" manages to engage the attention and create genuine interest throughout. A good looking, sharp and crisp, black-and-white production design enhances this presentation, which also features the always dependable Maureen O'Hara and Walter Slezak.
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