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:

apartment | soldier | friend | bar | murder | 

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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

Robert Mitchum hated making the film, later claiming that any American actor could have played Keeley.

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Goofs

When Finlay breaks the window with his gun, pieces of broken glass are left around the edges of the window frame. In subsequent shots there is no broken glass in the window frame.

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Quotes

The Man: [preparing coffee on the stove] Want some coffee?
Mitchell: Sure.
The Man: I'm her husband. I'm Ginny's husband. I was a soldier. I conked out.
[points to his heart]
The Man: You're wondering about this setup, aren't you?
Mitchell: Yeah, I guess I am.
The Man: [walks over to Montgomery] Well, ask her, then. She was a tramp when I married her. I didn't know it at first, but I knew it before we were married. That's one of the reasons I enlisted - to get away from her. But I couldn't wait to get out and come back to her. When I did, she didn't ...
[...]

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Connections

Referenced in Robert Mitchum: The Reluctant Star (1991)

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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

Redefining the Enemy

Unlike most film noir, Edward Dmytryk's Crossfire, adapted from a novel by Richard Brooks, is not nearly as concerned with its murder mystery, which, at first sight, might seem superficially formulaic to the casual viewer, as it is with the complex motives of its characters and the oppressive ambience of its accurately rendered post-WWII setting, evoking feelings of disorientation, loneliness and entrapment. Under its classic noir exterior, it is about hardened and aloof veterans' struggle with postwar reintegration, utterly unable or unwilling to put their traumatic experiences behind them, and about their desperate attempt to redefine their goals. For those who define themselves by who their enemies are, such as hateful loner Montgomery (the brilliant Robert Ryan), this necessitates establishing a new one, a role filled here by Jewish intellectual Joseph Samuels (Sam Levene), who becomes the regrettable victim of a senseless hate crime.

At first the film appears to simply be going through the motions: After the ambiguously shot opening murder scene all evidence points, for reasons I cannot presently remember, to Corporal Arthur Mitchell (George Cooper). Captain Finley (Robert Young) investigates and is soon joined by the idealistic Sergeant Peter Keeley (Robert Mitchum), who is certain of Mitchell's innocence. Two minor military characters, Floyd Bowers (Steve Brodie) and Bill Williams (Richard Benedict) are also somehow involved. Monty murders the former, while the latter, after a stern, Hugh Beaumontesque talking-to, reluctantly aids Finley and Keeley in setting a trap for the dastardly ne'er-do-well. Or perhaps it was the other way around -- I watch so many movies that Bowers and Williams might as well have been stranded in the South Seas and mistaken for Gods by the natives. Or, possibly, they have to spend a night in a haunted house before they can claim their inheritance, where they find a monkey that can play baseball and helps the local team win some games. At any rate, there's also the obligatory femme fatale Ginny Tremaine (Gloria Grahame) and a compulsive liar (Paul Kelly, delivering a wonderful performance) who might or might not be her husband, and exists mostly for local color and comic relief.

However, the real meat of the piece is the complex characterization of the veteran archetypes. Mitchell, for instance, suffers from a classic case of Post Traumatic Stress Disorder (often also referred to as `shell shock,' `war neurosis' or `combat stress') and, like many suffering from this condition, is taunted and branded as a coward by his fellows. He has become utterly self-loathing and fears the return to normalcy. The scene in which is wife finally gets him to confront these fears and enables him to return to her (and his art) is one of the film's many highlights. Then there's Peter Keeley, perhaps the most positive military archetype on display here: the natural born leader. He is extremely charismatic and persuasive, has great concern and compassion for his fellow soldiers, and manages to bring out these qualities in others. It is Keeley's considerable understanding of both human nature and his compatriots' dilemma that makes him so valuable to Captain Finley, the only other character of equivalent moral fiber. Their polar counterpart is Montgomery, a sadistic, racist bully who vents his frustrations by mocking and humiliating his fellow men. Left without an enemy, he creates elaborate rationalizations to justify his hate for a substitute. This really could be the member of any marginally different group (in the novel, I am told, the victim is a homosexual), but in this case it happens to be a Jew. While one's initial reaction might be that Montgomery obviously fought on the wrong side during the war, it is important to remember that, at the time, anti-Semitism was far from limited to Nazi Germany. Indeed, after World War One, the financial and societal crisis of the Great Depression caused anti-Semitism to reach its zenith, and violent attacks on Jews were quite commonplace in many major cities. Later, the U.S. refused entry to countless German-Jewish refugees, interpreted by Hitler as a clear sign of approval for his Final Solution.

Still, as Captain Finley correctly points out, practically anyone would have done as a victim for someone like Montgomery.