A highly respected Irish cop is pleased when his son follows him onto the force. Unfortunately, the son is more interested in rewards than in upholding the law. When he shoots a child ...
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A highly respected Irish cop is pleased when his son follows him onto the force. Unfortunately, the son is more interested in rewards than in upholding the law. When he shoots a child caught stealing, the others frame him and he is sent to prison where his attitude becomes even worse than before.Written by
Ulf Kjell Gür
Opening card: There is an unsung hero on our street to whom we owe our lives a hundred times, yet seldom know his name. He is the cop on the beat. This is the story of such a hero.. A policeman who chose between love for his son and devotion to duty. See more »
This is another atypical Sternberg film, his sole official effort at staid MGM; I TAKE THIS WOMAN (1940; which is to follow) was another assignment for that studio that would however be completed by other hands. Still, given the presence of Wallace Beery, I thought this would be a comedy-drama whereas it turned out to be a thriller with elements of both the gangster pictures then at their zenith and the soon-to-be in vogue noirs!
That said, the film starts off in a sentimental vein as Irish copper – with traditional heart-of-gold – Beery offers to raise a slew of orphaned or abandoned babies. The catch is that, when they grow up, the kids would cause all sorts of trouble for him: two are in love but another claims the girl (Laraine Day) for himself and, while the latter (Alan Curtis in the kind of role John Garfield would come to specialize in) follows in father's footsteps, his impatience for promotion sees him antagonize a notorious gangster (Marc Lawrence) who had learned to respect Beery and eventually turn criminal in his own right! The latter aspect links the film with his earlier (UNDERWORLD , THUNDERBOLT ) and later (MACAO ) phases and, while MGM was best-known for producing wholesome, entertainment-oriented fare, they did churn out the occasional hard-hitting picture over the years. Beery, too, could be serious and schmaltzy and here he mixes the two to reasonable satisfaction.
Though, as I said, Sternberg was unable to invest the proceedings with his trademark style, the film does incorporate an effective montage sequence (courtesy of Peter Ballbusch, who had worked for the director on his masterpiece i.e. THE SCARLET EMPRESS ) depicting Curtis' 'road-to-ruin'.
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