Police surround the apartment of apparent murderer Joe Adams, who refuses to surrender although escape appears impossible. During the siege, Joe reflects on the circumstances that led him to this situation.
Barbara Bel Geddes,
The editor of a New York exploitation newspaper meets the wife he had abandoned years ago, while using another name, at a LonelyHearts ball sponsored by his newspaper. She threatens to ... See full summary »
Johnny McQueen, leader of a clandestine Irish organization, has been hiding in the house of Kathleen and her mother, planning a hold-up that will provide his group with the funds needed to continue its activities. During the hold-up, things go sour: Johnny is wounded, cannot make it back to the hideout, and disappears in the back-alleys of Belfast. Immediately, a large-scale man-hunt is launched, and the city is tightly covered by the constabulary, whose chief is intent on capturing Johnny and the other members of the gang. Kathleen sets out in search of Johnny. Written by
Eduardo Casais <email@example.com>
When Johnny falls from the car into the road, the first long shot shows him in sunlight near the middle of the road and opposite a gutter. A later shot shows him still in sunlight near the middle of the road but he has now been moved back so he is opposite the intersecting road, so that when he rises he can run straight down that road. See more »
The settings and photography of this film are absolutely outstanding, Johnny's hiding place, Shell's odd room full of canaries, the elaborate Victorian tavern,the snow covering Johnny as he lies unconscious. I love the Third Man but this is by far my favorite Carol Reed production. It is slow and contemplative and transforms essential theological and philosophical concepts into visual media. It is strange and almost at times hallucinatory, but after all Johnny is often hallucinating in his pain and fever and this dreamlike quality is quite appropriate -- the slow thoughts of a man before he dies, as he tries to figure out what it was about and where he may be going. Reed does so much with film without dialog -- his close-ups of faces, his soft, dark streets and odd angles turn very difficult concepts and feelings into a visual masterpiece. I am always surprised to see how little commentary, what short shrift this excellent film is given
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