Because aging boxer Bill Thompson always lost his past fights, his corrupt manager, without telling Thompson, takes bribes from a betting gangster, to ensure Thompson's pre-arranged dive-loss in the next match.
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.Written by
Rod Crawford <firstname.lastname@example.org>
In Richard Brooks' novel, the character Montgomery kills Samuels not because he is Jewish, but because he is homosexual. Production Code Administration head Joseph I. Breen described the novel in a July 17, 1945 letter to RKO executive William Gordon, as "thoroughly and completely unacceptable, on a dozen or more counts." In February 1947, after screenwriter John Paxton had completely eliminated the homosexual plot line from the story, Breen endorsed the project, but cautioned that the final film should contain "no suggestion of a 'pansy' characterization about Samuels or his relationship with the soldiers." See more »
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. See more »
[to his men, referring to the deceased]
Okay, clean it up.
See more »
Definitely a "must see" for all fans of film noir.
Thanks to a fine script and crisp, razor sharp direction, a top cast comes together and works like a well oiled clock to produce a crackerjack psychological thriller. Wonderful characterizations articulate the movie's powerful message about the dangers of racial and religious intolerance.
It's difficult and almost unjust to single out any one, particular performance because there isn't a weak link in the entire company. But Robert Ryan as the hateful and violent white supremacist is truly spine chilling.
Making this film in the 1940s would have taken a lot of courage. Now,all these years later, at a time when contemporary movies are dominated by a ridiculous over abundance of foul language, bare breasts, crummy acting and deafening soundtracks, it's refreshing to get back to the basics of quality film making with a viewing treat like "Crossfire".
Another low budget gem from the Hollywood archives .
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