Crossfire (1947)

A man is murdered, apparently by one of a group of demobilized soldiers he met in a bar. But which one? And why?

Director:

Edward Dmytryk

Writers:

John Paxton (screenplay), Richard Brooks (adapted from a novel by)

Stars:

Robert Young, Robert Mitchum, Robert Ryan

Nominated for 5 Oscars. Another 3 wins & 3 nominations.

Cast

Complete credited cast:
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

Storyline

Homicide Capt. Finlay finds evidence that one or more of a group of demobilized soldiers is involved in the death of Joseph Samuels. In flashbacks, we see the night's events from different viewpoints as army Sgt. Keeley investigates on his own, trying to clear Mitchell, to whom circumstantial evidence points. Then the real, ugly motive for the killing begins to dawn on both Finlay and Keeley.

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Plot Keywords:

murder | hate crime | beating | beaten to death | investigation | 

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Taglines:

Whose were the hands that killed this man... what was the motive?

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Genres:

Crime | Drama | Film-Noir | Mystery

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Certificate:

Unrated

Details

Country:

USA

Language:

English

Release Date:

15 August 1947 (USA)

Also Known As:

Cradle of Fear

Filming Locations:

RKO Encino Ranch - Balboa Boulevard & Burbank Boulevard, Encino, Los Angeles, California, USA

Box Office

Budget:

$250,000 (estimated)

Gross USA:

$1,300,000

Company Credits

Production Co:

RKO Radio Pictures

Technical Specs

Runtime:

86 min

Sound Mix:

Mono (RCA Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

The traditional jazz music heard in the score and in the background of the nightclub scenes was performed Kid Ory's Creole Jazz Band led by Kid Ory.

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Goofs

At about 22 minutes in, the shadow of the camera and dolly is visible just to the right of the hotel door, behind the MP, as Bill Williams enters the hotel to meet Keeley in the coffee shop.

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Quotes

Finlay: This business of hating Jews comes in a lot of different sizes. There's the "you can't join our country club" kind and "you can't live around here" kind. Yes, and the "you can't work here" kind. And because we stand for all of these, we get Monty's kind. He's just one guy, we don't get him very often, but he grows out of all the rest.

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Connections

Referenced in The Best of Film Noir (1999)

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Soundtracks

Shine
(uncredited)
Written by Cecil Mack, Lew Brown, and Ford Dabney
Performed Kid Ory's Creole Jazz Band
Played in Red Dragon dance hall when Mitchell first meets Ginny

User Reviews

Good movie, could have been great

"Crossfire" feels like an underdeveloped masterpiece -- it's well acted and beautifully filmed, but thinly written and way too short. As is, it's just a decent police procedural with hints of film noir (at its zenith in 1947) and social commentary (also trendy at the time) thrown in for good measure. It's remembered today as one of the first two Hollywood films to deal with anti-Semitism, and as being much better than the similarly-themed "Gentleman's Agreement" (no mean feat). But its real subject is the difficulty that WWII soldiers, as trained killers, were having as they made the transition to civilian life. (For a more genteel take on this topic, try "The Best Years Of Our Lives.") A man is beaten to death in the first few frames of the film. We do not see his attacker. The movie is about the investigation of this murder, which is actually pretty straightforward, but it takes some unnecessary detours, like when the main suspect, a depressed soldier, winds up in the apartment of Gloria Grahame, a dance-hall hooker with a really weird pimp played by Paul Kelly. There's also a civics lecture halfway through the movie that slows the proceedings to a crawl, and the ending is tidy enough for a cop show. But otherwise it's a pretty decent mystery. Still, what a great noir it could have been. Director Edward Dmytryk drops a few hints at the subject of the original novel -- homosexuality, not anti-Semitism -- like when sadistic creep Monty seethes at the image of his friend Mitch talking with a strange man at a bar. And the cast is excellent. Robert Ryan makes for a very credible cretin, and even becomes a little sympathetic in his final scenes, not unlike Peter Lorre as the child murderer in "M." He deserved an Oscar but lost to Edmund Gwenn that year (you can't beat Santa Claus). Robert Mitchum is onhand as a soldier friend of the accused killer. Was Mitchum a great actor or a great star? Someone else can figure that out, but his sleepy eyes and bemused half-smile work very well here since they imply that his character knows something everyone else doesn't. (And he does.) And Robert Young, as the detective assigned to the murder, is surprisingly gritty, discarding his usual avuncular affability even when he has to deliver the civil-rights sermon midway through the picture. There's no question that Bogart or Tracy would have been brilliant in the role, but neither of them were at RKO in 1947 so you'll just have to deal with Dr. Welby. Still, Young is good enough to make you wish someone had cast him in a detective drama instead of "Father Knows Best," which he hated and which drove him to alcoholism and suicide attempts. The man deserved better than smarm and Sanka.