During the campaign for reelection, the crooked politician Paul Madvig decides to clean up his past, refusing the support of the gangster Nick Varna and associating to the respectable ... See full summary »
Over-the-hill boxer Bill 'Stoker' Thompson insists he can still win, though his sexy wife Julie pleads with him to quit. But his manager Tiny is so confident he will lose, he takes money ... See full summary »
A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
Homicide Capt. Finlay finds evidence that one or more of a group of demobilized soldiers is involved in the death of Joseph Samuels. In flashbacks, we see the night's events from different viewpoints as Sergeant Keeley investigates on his own, trying to clear his friend Mitchell, to whom circumstantial evidence points. Then the real, ugly motive for the killing begins to dawn on both Finlay and Keeley... Written by
Rod Crawford <firstname.lastname@example.org>
Edward Dmytryk opted to use a noir lighting style because of its inexpensiveness and the fact that it was very quick to set up. This explains why the film only took 20 days to shoot. See more »
Set after World War II, Finlay tells a long story to Leroy about how his grandfather was murdered 100 years previously in 1848. Finlay would have to be in his 60s or 70s for that to be true and he clearly is not; it must have been his great-grandfather that was murdered. See more »
Police Captain Finlay:
What kind of guys?
You know the kind. Played it safe during the war, keepin' themselves in civvies, nice apartments, swell dames... you know the kind.
Police Captain Finlay:
I'm not sure that I do.
Some of 'em are named Samuels, some of 'em have funnier names.
He oughta look at a casualty list sometime. There's a lot of funny names there, too.
See more »
Definitely a "must see" for all fans of film noir.
Thanks to a fine script and crisp, razor sharp direction, a top cast comes together and works like a well oiled clock to produce a crackerjack psychological thriller. Wonderful characterizations articulate the movie's powerful message about the dangers of racial and religious intolerance.
It's difficult and almost unjust to single out any one, particular performance because there isn't a weak link in the entire company. But Robert Ryan as the hateful and violent white supremacist is truly spine chilling.
Making this film in the 1940s would have taken a lot of courage. Now,all these years later, at a time when contemporary movies are dominated by a ridiculous over abundance of foul language, bare breasts, crummy acting and deafening soundtracks, it's refreshing to get back to the basics of quality film making with a viewing treat like "Crossfire".
Another low budget gem from the Hollywood archives .
28 of 34 people found this review helpful.
Was this review helpful to you?