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Title: On Dangerous Ground (1951)
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| Complete credited cast: | |||
| Ida Lupino | ... | Mary Malden | |
| Robert Ryan | ... | Jim Wilson | |
| Ward Bond | ... | Walter Brent | |
| Charles Kemper | ... | Pop Daly | |
| Anthony Ross | ... | Pete Santos | |
| Ed Begley | ... | Capt. Brawley | |
| Ian Wolfe | ... | Sheriff Carrey | |
| Sumner Williams | ... | Danny Malden | |
| Gus Schilling | ... | Lucky | |
| Frank Ferguson | ... | Willows | |
| Cleo Moore | ... | Myrna Bowers | |
| Olive Carey | ... | Mrs. Brent | |
 |
Richard Irving | ... | Bernie Tucker |
|
|
Patricia Prest | ... | Julie Brent (as Pat Prest) |
Hard, withdrawn city cop Jim Wilson roughs up one too many suspects and is sent upstate to help investigate the murder of a young girl in the winter countryside. There he meets Mary Malden, whom he finds attractive and independent. However, Mary's brother is chief suspect in the killing. And Mary herself is blind. Written by Jeremy Perkins {J-26}
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Ignored at the time of it's release and still criminally underrated, On Dangerous Ground is a masterpiece from director Nicholas Ray, and maybe his best film {yes, better than Rebel Without A Cause}, a powerful yet poignant study of loneliness, urban alienation and finally redemption. It's both tough and tender, both thrilling and thoughtful, both sad and uplifting. In fact, the film itself is comprised of two halves, and both are simply brilliantly handled.
The first half is classic hard boiled film noir. Set almost entirely at night, Robert Ryan's policeman patrols the streets, getting so sickened by the filth he deals with that he has become dehumanised. As he deals with the gangsters ,the tramps and the thieves, the film has an almost documentary style, but it's also an extremely powerful study of a man caught in limbo, perhaps not that many stages away from Taxi Driver's Travis Bickle.
By contrast, the second half takes place mainly in daylight and forgoes the forbidding city scapes for snowy countryside. Ray gives us two terrific outdoor chase sequences, but just as striking are the beautifully written and played scenes between Ryan and the blind Ida Lupino, this tentative almost-romance between two lonely souls being so incredibly poignant. The last reel is somewhat rushed, due partially to pre-release cutting, and maybe the happy ending is un realistic. However, the final embrace has a tremendous sense of release.
Ryan superbly portrays his character's sickness and gradual melting while the gorgeous Ida Lupino has never looked more vulnerable. Bernard Herrmann's score is one of his best ever, ranging from thrilling hunt music for the chase scenes to music of almost unbearable beauty for Lupino. The score alone is a work of art ,but so is this wonderfully compact {at around 80 mins!}and excellent film.