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Crossfire
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Crossfire (1947) More at IMDbPro »

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Crossfire -- A man is murdered, apparently by one of a group of soldiers just out of the army. But which one? And why?

Overview

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7.4/10   4,412 votes »
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Up 9% in popularity this week. See why on IMDbPro.
Director:
Writers:
John Paxton (screenplay)
Richard Brooks (adapted from a novel by)
Contact:
View company contact information for Crossfire on IMDbPro.
Release Date:
22 July 1947 (USA) See more »
Genre:
Tagline:
Sensational? No, it's dynamite! See more »
Plot:
A man is murdered, apparently by one of a group of soldiers just out of the army. But which one? And why? Full summary » | Add synopsis »
Plot Keywords:
Awards:
Nominated for 5 Oscars. Another 5 wins & 1 nomination See more »
NewsDesk:
(10 articles)
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User Reviews:
Redefining the Enemy See more (68 total) »

Cast

  (in credits order) (verified as complete)

Robert Young ... Finlay

Robert Mitchum ... Keeley

Robert Ryan ... Montgomery

Gloria Grahame ... Ginny
Paul Kelly ... The Man
Sam Levene ... Samuels

Jacqueline White ... Mary Mitchell
Steve Brodie ... Floyd
George Cooper ... Mitchell
Richard Benedict ... Bill
Tom Keene ... Detective (as Richard Powers)
William Phipps ... Leroy

Lex Barker ... Harry
Marlo Dwyer ... Miss Lewis
rest of cast listed alphabetically:

Robert Bray ... MP (uncredited)
Don Cadell ... MP (uncredited)
Carl Faulkner ... Deputy (uncredited)
Harry Harvey ... Tenant (uncredited)
Kenneth MacDonald ... Major (uncredited)
George Meader ... Police surgeon (uncredited)
Philip Morris ... Police sergeant (uncredited)
Bill Nind ... Waiter (uncredited)
Jay Norris ... MP (uncredited)
Allan Ray ... Soldier (uncredited)
George Turner ... MP (uncredited)
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Directed by
Edward Dmytryk 
 
Writing credits
John Paxton (screenplay)

Richard Brooks (adapted from a novel by)

Produced by
Adrian Scott .... producer
 
Original Music by
Roy Webb 
 
Cinematography by
J. Roy Hunt (director of photography)
 
Film Editing by
Harry W. Gerstad  (as Harry Gerstad)
 
Art Direction by
Albert S. D'Agostino 
Alfred Herman 
 
Set Decoration by
Darrell Silvera (set decorations)
John Sturtevant (set decorations)
 
Makeup Department
Gordon Bau .... makeup supervisor
 
Second Unit Director or Assistant Director
Nate Levinson .... assistant director
Cliff Reid Jr. .... assistant director (uncredited)
 
Sound Department
Clem Portman .... sound
John E. Tribby .... sound
 
Special Effects by
Russell A. Cully .... special effects
 
Camera and Electrical Department
Willard Barth .... camera operator (uncredited)
Howard Schwartz .... first assistant camera (uncredited)
 
Music Department
C. Bakaleinikoff .... musical director
 
Other crew
Dore Schary .... presenter
William E. Watts .... dialogue director
C. Bidwell .... stand-in (uncredited)
Charles Cirillo .... stand-in (uncredited)
Sam Lufkin .... stand-in (uncredited)
B. Scott .... stand-in (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
86 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (RCA Sound System)
Certification:
Australia:PG | Finland:K-16 | Netherlands:18 (original rating) (1948) | UK:A (original rating) (passed with cuts) | UK:PG (tv rating) | UK:PG (video rating) (1986) (1998) (1999) | USA:Unrated | USA:Approved (PCA #12325)

Did You Know?

Trivia:
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 »
Goofs:
Crew or equipment visible: 22 minutes in. Shadow of camera and dolly visible just to the right of the hotel door as the character played by Richard Benedict enters the hotel.See more »
Quotes:
Police Captain Finlay:You still don't know where he is?
Keeley:No. I didn't know when I came in here, and I haven't suddenly gotten any brighter.
See more »
Movie Connections:
Referenced in The Best of Film Noir (1999) (V)See more »

FAQ

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16 out of 20 people found the following review useful.
Redefining the Enemy, 21 April 2004
Author: The 14th Warrior from Atlanta, GA

Unlike most film noir, Edward Dmytryk's Crossfire, adapted from a novel by Richard Brooks, is not nearly as concerned with its murder mystery, which, at first sight, might seem superficially formulaic to the casual viewer, as it is with the complex motives of its characters and the oppressive ambience of its accurately rendered post-WWII setting, evoking feelings of disorientation, loneliness and entrapment. Under its classic noir exterior, it is about hardened and aloof veterans' struggle with postwar reintegration, utterly unable or unwilling to put their traumatic experiences behind them, and about their desperate attempt to redefine their goals. For those who define themselves by who their enemies are, such as hateful loner Montgomery (the brilliant Robert Ryan), this necessitates establishing a new one, a role filled here by Jewish intellectual Joseph Samuels (Sam Levene), who becomes the regrettable victim of a senseless hate crime.

At first the film appears to simply be going through the motions: After the ambiguously shot opening murder scene all evidence points, for reasons I cannot presently remember, to Corporal Arthur Mitchell (George Cooper). Captain Finley (Robert Young) investigates and is soon joined by the idealistic Sergeant Peter Keeley (Robert Mitchum), who is certain of Mitchell's innocence. Two minor military characters, Floyd Bowers (Steve Brodie) and Bill Williams (Richard Benedict) are also somehow involved. Monty murders the former, while the latter, after a stern, Hugh Beaumontesque talking-to, reluctantly aids Finley and Keeley in setting a trap for the dastardly ne'er-do-well. Or perhaps it was the other way around -- I watch so many movies that Bowers and Williams might as well have been stranded in the South Seas and mistaken for Gods by the natives. Or, possibly, they have to spend a night in a haunted house before they can claim their inheritance, where they find a monkey that can play baseball and helps the local team win some games. At any rate, there's also the obligatory femme fatale Ginny Tremaine (Gloria Grahame) and a compulsive liar (Paul Kelly, delivering a wonderful performance) who might or might not be her husband, and exists mostly for local color and comic relief.

However, the real meat of the piece is the complex characterization of the veteran archetypes. Mitchell, for instance, suffers from a classic case of Post Traumatic Stress Disorder (often also referred to as `shell shock,' `war neurosis' or `combat stress') and, like many suffering from this condition, is taunted and branded as a coward by his fellows. He has become utterly self-loathing and fears the return to normalcy. The scene in which is wife finally gets him to confront these fears and enables him to return to her (and his art) is one of the film's many highlights. Then there's Peter Keeley, perhaps the most positive military archetype on display here: the natural born leader. He is extremely charismatic and persuasive, has great concern and compassion for his fellow soldiers, and manages to bring out these qualities in others. It is Keeley's considerable understanding of both human nature and his compatriots' dilemma that makes him so valuable to Captain Finley, the only other character of equivalent moral fiber. Their polar counterpart is Montgomery, a sadistic, racist bully who vents his frustrations by mocking and humiliating his fellow men. Left without an enemy, he creates elaborate rationalizations to justify his hate for a substitute. This really could be the member of any marginally different group (in the novel, I am told, the victim is a homosexual), but in this case it happens to be a Jew. While one's initial reaction might be that Montgomery obviously fought on the wrong side during the war, it is important to remember that, at the time, anti-Semitism was far from limited to Nazi Germany. Indeed, after World War One, the financial and societal crisis of the Great Depression caused anti-Semitism to reach its zenith, and violent attacks on Jews were quite commonplace in many major cities. Later, the U.S. refused entry to countless German-Jewish refugees, interpreted by Hitler as a clear sign of approval for his Final Solution.

Still, as Captain Finley correctly points out, practically anyone would have done as a victim for someone like Montgomery.

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Why so few posts?????? richsass
Robert Young neglects to mention coloured people chapmanshomer
Music played in movie house laptow
Time for a remake! marianp1
Phobias and Sexual Themes abletonyallen
Disappointing take on anti-semitism tarmcgator
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