Barry Sulivan is a cynical gangster who controls the Neptune Beach waterfront. He runs a numbers racket with the local soda shop owner: the police are in his pocket and the local hoods are on his payroll.
A man who spent his formative years in prison for murder is released, and struggles to adjust to the outside world and escape his lurid past. He gets involved with a cheap dancehall girl, ... See full summary »
Sam Hurley, "Nation's No. 1 killer" with a cold contempt for "heroes," escapes prison with two companions and takes a mixed bag of hostages to Nevada ghost town Lost Hope City. He knows ... See full summary »
John Muller, medical school dropout and brilliant crook, plans a holdup which goes a little bit wrong, and finds vindictive gambler Rocky Stansyck after him. At the end of his tether, he stumbles onto a lucky chance to assume an impenetrable new identity as psychiatrist Victor Bartok. But irony piles on as Muller finds it's out of the frying pan, into the fire. Written by
Rod Crawford <firstname.lastname@example.org>
The ship shown at the pier John and Evelyn were going to at the end of the film was named the Don Anselmo. It was originally named Reeving Eye, a C1-M Alamosa-class cargo vessel, built for the U.S. War Shipping Administration by Kaiser Shipbuilding at Portland Oregon in 1945. It was sold to a Panamanian company in 1946. It sank off the coast of Peru in 1971 after a collision with an Ecuadorian Navy ship, with the loss of 13 lives. See more »
When the gang is driving away from the casino hold-up, it appears the trailing car is hit three times in the rear window. (Actually it looks like someone is throwing paint balls inside the car at said window.) In the next shot of the car crashing into the lamp post, the car's rear window has no such defects. See more »
It's a bitter little world full of sad surprises, and you don't let anyone hurt you.
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Blue Danube Waltz
Written by Johann Strauß
Whistled by Muller's workmate at the garage See more »
Terrific hard-boiled double-identity thriller in the noir genre
Paul Henreid produced this film in which he starred, eerily portraying a totally amoral man who does not see anything at all wrong with the occasional murder, as long as he 'needs to do it'. John Bennett delivers an equally powerful performance of a woman who, although not good, is certainly not bad, and it is curious that this study of a woman's fixation on a bad man through infatuation was made in the same year as 'Force of Evil' which showed an even more extreme form of that. It must have been 'beauty and the beast' year. The ingenious plot concerns a double-identity, so there are two major threads of intrigue going on at once. Needless to say, Joan Bennett is involved with both Henreids, but prefers the baddie because he is more spellbinding and, let's face it, far from boring. This is a well-directed, sometimes brutal, atmospheric thriller which is something of a lost classic. It is now available on DVD under its alternative title of 'The Scar', which is a most unfortunate title, as people don't like scars (even though there is one in the story). Joan Bennett was really made for these films, as she proved in 'The Woman in the Window' and 'Scarlet Street' for instance. There is something ambiguous about her, something hard that is soft, you can't quite figure her. That's just right for noir. You should never be able to figure noir, everything should stay in the shadows where it belongs. The thing about a good thriller like this is, the mystery goes beyond the story itself and becomes the mystery of people themselves, what is it that goes on inside heads, those impenetrable citadels of secrets.
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