Joe Sullivan is itching to get out of prison. He's taken the rap for Rick, who owes him $50 Grand. Rick sets up an escape for Joe, knowing that Joe will be caught escaping and be shot or ... See full summary »
Jim McLeod is a hard-nosed and cynical detective. He believes in a strict interpretation of the law and doesn't believe in turning the other cheek. The current object of his zealousness is Karl Schneider, an abortionist responsible for the death of several young women. Schneider's lawyer tells the precinct lieutenant that McLeod has his own personal reasons for going after his client. It turns out that his wife was a patient before they met, although Jim knew nothing of it. His world suddenly turned upside down, McLeod is too late in re-evaluating his priorities. Written by
In some of the close-up shots of McLeod and Schneider in the back of the paddy wagon, McLeod's shadow can be faintly seen on the rear-projection screen showing the street behind them. (Other shadows can also be seen.) See more »
I was always interested in seeing this movie and thanks to a storm in NYC and my disinterest in going to work, I finally watched this movie.
I was very disappointed. I found the movie to be highly and needlessly dramatic by all involved. I thought all the characters were cardboard-based, especially Lee Grant, who overdoes her New Yawk accent so much it made a shiver go down my spine. Douglas & Parker have a decent scene or two but for the most part do not connect with each other.
Best scene by miles was one where Gladys George (she was the nuts widow in "The Maltese Falcon") goes to the precinct to pick a criminal from a line-up. She is on screen for maybe 90 seconds, but they were the realest thing in this sappy and stagey movie.
I have a lot of respect for William Wyler and the cast, normally, but this one misfired, for me at least.
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