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All the King’s Men (Nov. 8, 1949)

All the King's Men
All the King’s Men (1949)
Directed by Robert Rossen
Columbia Pictures

Director Robert Rossen’s film adaptation of Robert Penn Warren’s Pulitzer Prize-winning novel All the King’s Men was a big winner at the Oscars in 1950.

With seven nominations and three wins, All the King’s Men just trailed behind William Wyler’s The Heiress (an adaptation of Henry James’s 1880 novel Washington Square), which had eight nominations and four wins.

At the 22nd Academy Awards, All the King’s Men was nominated for Best Motion Picture, Best Director (Robert Rossen), Best Actor (Broderick Crawford), Best Supporting Actor (John Ireland), Best Supporting Actress (Mercedes McCambridge), Best Screenplay (Robert Rossen), and Best Film Editing (Robert Parrish and Al Clark).

It took home the awards for Best Motion Picture, Best Actor for Crawford, and Best Supporting Actress for McCambridge.

Broderick Crawford

These were huge wins for both actors. Broderick Crawford had appeared in a lot of movies, but probably hadn’t made a big impression on the movie-going public. Prior to All the King’s Men his biggest acting success had been playing Lennie in Of Mice and Men on Broadway, but when the film version was made in 1939, he was passed up for the role and Lon Chaney, Jr., was cast instead.

Mercedes McCambridge was an accomplished radio performer who did a lot of work on the air with Orson Welles, but this was her first appearance in a film. Not too shabby!

Rossen did a lot of work as a screenwriter before making All the King’s Men, but it was only the third film he directed. The first two films he directed were Johnny O’Clock (1947), which not very many people saw, and Body and Soul (1947), which was a hit with both critics and audiences.

All the King’s Men was an even bigger success than Body and Soul. In the 1950s, Rossen had trouble with HUAC, eventually “named names,” and continued directing films, but it would be a long time before he would make another widely acclaimed film (The Hustler, with Paul Newman, in 1961).

Just as Citizen Kane was a thinly veiled gloss on the life and career of William Randolph Hearst, All the King’s Men is a thinly veiled gloss on the life and career of Louisiana politician Huey Long.

Huey Long was Governor of Louisiana from 1928 to 1932 and a U.S. Senator from 1932 until his death in 1935. He was a political operator who could turn wild dreams into massive public projects, he was a passionate advocate of wealth redistribution, and he was a divisive figure.

The film twists and amplifies Long’s legacy for dramatic effect, but enough of the details are close enough that speaking the name “Huey Long” was forbidden on the set.

Rally

As Willie Stark, Broderick Crawford doesn’t attempt a Southern drawl, but it’s probably better that way. I didn’t even think about the way Crawford was speaking while I was watching the movie. His performance is raw and powerful, and is the perfect mix of bonhomie, sincerity, menace, and naked ambition. Through the eyes of reporter Jack Burden (John Ireland) we see Willie Stark transform from an honest but inexperienced politician to a canny operator in charge of an enormous political machine.

Unlike Citizen Kane, which is one of the most highly stylized films ever made, Rossen and his cinematographer, Burnett Guffey, shot All the King’s Men in a naturalistic fashion. It’s mostly shot in real locations (which are occasionally very drab) and employs a lot of non-actors (a.k.a. “real people”) in small parts. The only really over-the-top visuals occur at Willie Stark’s political rallies, which often take place at night and are full of torches and rows of jackbooted police officers, which makes the rallies resemble the Nuremberg Rally.

I especially liked some of the casting choices. Dark-haired pretty boy John Derek plays Willie Stark’s son, college football star Tom Stark. He is oddly mirrored by Walter Burke as “Sugar Boy,” Willie Stark’s nefarious bodyguard. Derek and Burke have similar bone structure and coloring, but while Derek is handsome and charming, Burke is reptilian and creepy.

All the King’s Men is far from being a docudrama about American politics, but its over-the-top tale of ambition perverted by corruption is still relevant.

Mr. Soft Touch (July 28, 1949)

Mr Soft Touch
Mr. Soft Touch (1949)
Directed by Gordon Douglas and Henry Levin
Columbia Pictures

I saw Mr. Soft Touch two weeks ago at the Music Box Theatre, and I loved everything about it.

I couldn’t find many reviews of Mr. Soft Touch online, but most of the reviews I found were lukewarm, and criticized its dichotomous nature. “It can’t make up its mind if it wants to be a film noir or a comedy” seems to be the consensus. Another refrain I saw was “Could have been a holiday classic but misses the mark.”

Most of those reviews blame the fact that the film has two directors.

Well, for once in my life I don’t care what went on behind the scenes, or which director contributed to what parts of the film, because I loved Mr. Soft Touch and I’ll sing its praises from the rooftops.

It probably helped that I saw it on the big screen in a real theater on a gloomy winter afternoon. If it wasn’t a pristine and fully restored 35mm print then it was a damned good facsimile of one. I watch most of the movies I review on DVD (occasionally Blu-ray) or on a streaming service, but that’s out of necessity. If you love classic films there is simply no substitute for the theatrical experience.

Glenn Ford

Mr. Soft Touch stars Glenn Ford as Joe Miracle, a shady character who’s running from the law with a bag full of cash when the movie begins. The opening sequence is suspenseful and features some great San Francisco location shooting. Joe Miracle uses his wits to get through a series of close shaves and eventually winds up hiding out for several days in a settlement house run by a woman named Jenny Jones (Evelyn Keyes).

The settlement house is staffed by Jenny and a group of older women, including actresses Beulah Bondi and Clara Blandick. They tend to the needs of homeless men, juvenile delinquents, and poor immigrants.

For the first reel or two of Mr. Soft Touch I kept waiting for a flashback sequence that would show how Joe Miracle wound up with a bag full of cash, fleeing for his life, and biding his time until he can hop on a steamer bound for Japan. A flashback like that would have been a classic film noir device, but the story unfolds in a linear fashion, and everything is explained along the way.

A bunch of gangland toughs are on Joe’s tail, and they’re led by the always entertaining mug Ted de Corsia. There’s also a muckraking radio reporter, Henry “Early” Byrd (played by a bespectacled John Ireland), who sends warnings to Joe over the airwaves but who might not have Joe’s best interests at heart.

Significantly, Mr. Soft Touch takes place at Christmastime, and adds the layer of “holiday film” to the already rare blending of hard-boiled noir, romantic comedy, and “social issues” picture.

Santa Ford

I got very involved with the story and characters in Mr. Soft Touch. I tend to dislike movies that have an inconsistent tone. Despite the blending of genres, I never felt like the tone of Mr. Soft Touch shifted uncomfortably from one genre to another. It was unpredictable, but it all worked.

I don’t know which director did what, but I never had the sense that there were two different films fighting each other for supremacy. Mr. Soft Touch is all about dualities, though, so perhaps having two directors works in the film’s favor. Joe Miracle’s last name is an Americanization of a much longer Polish surname that starts with the letter M. But it also symbolizes the unexpected gifts of the holiday season, and the element of the unexpected that he brings to Jenny’s settlement house. The title of the film has a double meaning, too. Joe Miracle has hands that can make the dice in a craps game come up the way he wants them, but the title of the film also refers to the goodness lurking behind his tough exterior that Jenny helps expose.

It’s a somewhat odd film, but a thoroughly enjoyable one.

I Shot Jesse James (Feb. 26, 1949)

I Shot Jesse James
I Shot Jesse James (1949)
Directed by Samuel Fuller
Lippert Pictures / Screen Guild Productions

If a story doesn’t give you a hard-on in the first couple of scenes, throw it in the goddamn garbage. —Samuel Fuller

Maverick filmmaker Samuel Fuller was shopping scripts around Hollywood when he met producer Robert L. Lippert. Lippert admired Fuller’s 1944 pulp novel The Dark Page and gave Fuller his first crack at directing.

The result was I Shot Jesse James, a low-budget but brilliant revisionist western starring John Ireland as Robert Ford, the member of the James gang who killed Jesse James and collected the bounty.

Fuller had a flair for the dramatic, and when shooting began on I Shot Jesse James, he discharged a round from his Colt .45 into the air instead of yelling “Action.”

Fuller made three films for Lippert, I Shot Jesse James, The Baron of Arizona (1950), and The Steel Helmet (1951). The budgets were tiny and the shooting schedules tight, but Lippert gave Fuller the freedom to make exactly the kind of movies he wanted.

Fuller wrote the script for I Shot Jesse James, and based it on an article by Homer Croy in American Weekly magazine. It’s a sympathetic portrayal of a roundly reviled historical figure (even if you have no sympathy for Jesse James, it’s hard not to instinctively dislike a man who shot his unarmed friend in the back for reward money).

John Ireland

John Ireland plays Robert Ford as a lovesick man who’s tired of life on the run and just wants to marry his girl, the beautiful actress Cynthy Waters (Barbara Britton). He’s tempted by Missouri Governor Thomas Theodore Crittenden’s offer of amnesty for any member of the gang who turns in Jesse James (Reed Hadley), dead or alive.

Fuller depicts the relationship between Jesse and Bob Ford as deeply homoerotic, although the stolid Hadley doesn’t seem aware of anything strange about sitting in a bathtub and asking his friend to scrub his back for him. It’s the tortured Ireland who appears to long for Jesse, and perhaps by killing him he’s killing a part of himself that he despises.

Nothing good comes from it, of course. When Ford tells Cynthy that his killing of Jesse James was legal, she responds in horror, “It was murder.”

He walks through the rest of the picture with a haunted, desperate look on his face. He appears in a stage show in which he reenacts the killing of Jesse James, he dodges bullets from glory-hungry gunmen, and he desperately tries to repair his relationship with Cynthy.

This film explores a lot of the same territory as Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford (2007), which starred Casey Affleck as Robert Ford and Brad Pitt as Jesse James. The most poignant parts of both films show Ford facing his own terrible legacy, such as when he appears in the onstage reenactment or confronts a troubadour who sings hymns to his cowardice.

I Shot Jesse James has stock music and its minuscule budget is pretty obvious, but it’s a great portrait of a complicated historical figure. Samuel Fuller would go on to have a long and iconoclastic career, and while I Shot Jesse James is never numbered among his greatest works, it’s his opening salvo as a director, and it’s a powerful one.

Red River (Aug. 26, 1948)

Red River
Red River (1948)
Directed by Howard Hawks
United Artists

Howard Hawks shot Red River in 1946, but its release was delayed due to legal difficulties. The eccentric Howard Hughes contended that parts of Red River were taken from his “lust in the dust” western The Outlaw (1943), which starred Jane Russell and her magnificent breasts.

Anyone who’s seen both Red River and The Outlaw can tell you that any claim of story infringement is spurious, but there was bad blood between Hughes and Hawks (Hawks had worked on The Outlaw as an uncredited co-director), and it took until August 26, 1948, before Red River finally had its premiere.

So while Fred Zinnemann’s The Search (1948) was the film that introduced many moviegoers to Montgomery Clift, Red River was his first acting role in a feature film.

Clift was a born movie star. He was achingly handsome, rail-thin, and blessed with a uniquely vulnerable type of masculinity. On screen, he had a presence that seemed completely natural. Red River is a phenomenal western that works on a number of different levels, but one of its most important aspects is the relationship between Clift and the film’s star, John Wayne.

Wayne and Clift were on opposite ends of the spectrum in every way imaginable; politically, professionally, physically, and sexually. But it’s this contrast that makes Red River work so well.

Wayne and Clift

Red River is the story of a cattle drive along the Chisholm Trail up from Texas. Thomas Dunson (John Wayne) is a big, tough cattleman who took his land by force.

When Dunson was first establishing his grazing land with his best friend Nadine Groot (Walter Brennan), the woman Dunson loved (Coleen Gray) was murdered by Comanches, and he never loved another.

The sole survivor of the massacre, a young man named Matt Garth (played as a boy by Mickey Kuhn) came wandering through the land, leading a cow. Dunson’s bull mated with Garth’s cow, and from this union eventually grew a herd of more than 10,000 longhorns.*

Fourteen years pass, and Garth grows up, now played by Montgomery Clift. The Civil War has ended, and Dunson is no longer able to sell beeves to the impoverished southern states. He decides that he’ll drive his entire herd north to Missouri, where they’ll fetch a fortune. He’s spent his life building his empire, and he wants to pass it down to Matt Garth, his protégé.

The only problem is that Dunson’s greatest strength — his unbending will — is also his greatest weakness, which eventually puts him at loggerheads with the more even-tempered and empathetic Garth.

John Wayne and Montgomery Clift

Borden Chase, who wrote the Saturday Evening Post story on which Red River was based (as well as the screenplay for the film with Charles Schnee), drew liberally from Mutiny on the Bounty in crafting his story.

Despite the fact that his middle name was “Winchester,” this was Howard Hawks’s first directorial credit for a western, which is remarkable considering he’d been directing films since the 1920s and had more than one masterpiece under his belt.

In addition to his own estimable talents as a director, Hawks had some of the finest crew members who ever worked on a Hollywood western when he made Red River. Composer Dimitri Tiomkin’s score is epic. Editor Christian Nyby’s cutting drives the film forward with relentless intensity. And cinematographer Russell Harlan had toiled away for years working on B pictures (mostly westerns) before finally breaking into A pictures with Lewis Milestone’s war movie A Walk in the Sun (1945). He went on to become one of the best cinematographers in the business, and his work on Red River is proof.

Red River is one of the greatest westerns ever made. As I said above, it works on a number of different levels. At its most basic level, Red River is a rousing adventure film about men on a dangerous mission, struggling against the elements and against each other. But on a deeper level, it’s a timeless myth about fathers and sons.

Red River will be shown on TCM this Friday, March 1, 2013, at 10:15 PM ET.

*If you’re a fan of sexual innuendo in old movies, the scene in Red River in which Matt Garth and gunslinger Cherry Valance (John Ireland) compare revolvers is a classic. Many see a gay subtext, which could be there, but gay men hardly have a monopoly on comparing phalluses to see whose is bigger. I think the sexual bonding between men in Red River goes much deeper. Remember that the herd being driven up the Chisholm Trail in Red River are all descended from the union between John Wayne’s bull and Montgomery Clift’s cow. Even though Dunson and Garth are not blood relations, they are bound together.

Raw Deal (May 26, 1948)

Raw Deal
Raw Deal (1948)
Directed by Anthony Mann
Eagle-Lion Films

Anthony Mann’s T-Men (1947) and Raw Deal (1948) together form one of the most powerful one-two punches in the history or film noir.

Both films star Dennis O’Keefe, both feature musical scores by Paul Sawtell, John C. Higgins has a writing credit on both, and both feature the exquisite cinematography of John Alton.

What makes these two films such a great one-two punch is that they are each one side of the film noir coin. T-Men is a docudrama, purportedly made to show square-jawed agents of the Treasury Department cracking a big case, but like all great noir docudramas, the depiction of the criminal demimonde and the gray areas of its protagonists’ moral codes are the most interesting parts of the film.

Raw Deal is the other side of the coin. It’s a film noir purely about crime and criminals, and it has all the great elements of noir — a doomed male protagonist on the run, a “good girl” and a “bad girl” competing for his love, dream-like voice-over narration, a casually sadistic villain, and it’s set in one of the great noir cities — San Francisco.

Like Billy Wilder’s Double Indemnity (1944), Edgar G. Ulmer’s Detour (1945), and Jacques Tourneur’s Out of the Past (1947), Raw Deal is the Platonic ideal of a film noir.

Raw Deal begins with aging gun moll Pat Cameron (Claire Trevor) going to visit Joe Sullivan (Dennis O’Keefe) in prison. Right away Raw Deal establishes that it is not a run-of-the-mill crime film, as Claire Trevor’s voice-over narration is accompanied by a haunting theme played on a theremin. The element of the theremin is only present in Paul Sawtell’s score during these voice-overs, and establishes Pat’s point of view as dreamy and hyperreal. Raw Deal is the first film in which I’ve heard a theremin since Miklós Rózsa’s masterful scores for Billy Wilder’s The Lost Weekend (1945) and Alfred Hitchcock’s Spellbound (1945), both of which used the eerie sound of a theremin to establish altered states of perception.

When she arrives at the prison, however, Pat is told she has to wait a little while because Joe already has a visitor — Ann Martin (Marsha Hunt). Ann works for Joe’s defense lawyer’s office and she cares about his case and wants to see him paroled, but she admits that he will probably have to wait at least three years. She leaves, Pat enters, and Joe is faced with a more tantalizing prospect. Gang boss Rick Coyle (Raymond Burr) has devised an escape plan for Joe. If he can make it over the wall Pat will be there waiting in a getaway car.

Of course, nothing is what it seems to be on the surface, and Coyle — whose double-cross is how Joe ended up in prison in the first place and who still owes Joe his cut from a robbery — is hoping that Joe will be shot by prison guards during his escape, taking care of Coyle’s problem for good.

Burr formerly played a memorable villain in Mann’s noir Desperate (1947), but he’s an even nastier and more violent character in Raw Deal, casually setting his girlfriend on fire in a shocking scene of cruelty that presages a similar scene in Fritz Lang’s The Big Heat (1953). His right-hand man, the bizarrely named “Fantail,” is solidly played by John Ireland, who formerly starred in Mann’s noir Railroaded (1947).

First and foremost, Raw Deal is a masterpiece of suspense. For most of the movie Joe, Pat, and Ann are on the run from the police, and the film hits all of the classic “fugitive movie” moments — navigating a road block, hiding out in a cabin in the woods, one narrow escape after another, etc. Finally, for the last act of the film, the type of suspense changes, and a ticking clock takes the film closer and closer to its inevitable violent confrontation.

Since so much of Raw Deal takes place on the open road, there aren’t as many opportunities for Alton to flex his cinematographic muscles in the same way he did in T-Men, which mostly took place in urban environments. But he makes the most of what he has to work with. There’s a lot of day-for-night shooting in Raw Deal, and it’s a technique that never looks quite right, but at least with Alton operating the camera it always looks good. Finally, scenes toward the end with Claire Trevor’s face reflected in a ticking clock as she weighs a decision in her mind are absolutely masterful.

Anthony Mann was a great director who made wonderful films in all genres, but among his film noirs, I’ll never be able to decide if I like Raw Deal or T-Men better. They’re both great, must-see pictures for every aficionado of film noir.

Open Secret (Jan. 31, 1948)

The years following World War II gave us a number of films that explored anti-Semitism in America. On the top of the heap were Elia Kazan’s Gentleman’s Agreement (1947), a thoughtful, Oscar-winning drama, and Edward Dmytryk’s Crossfire (1947), a taut, Oscar-nominated thriller.

On the bottom of the bill, so to speak, were movies like the Monogram cheapie Violence (1947), which was about a cabal of American fascists who were dedicated to preserving “America for Americans,” although the film never really got into specifics about who they intended to preserve it from.

John Reinhardt’s Open Secret, on the other hand, is just as cheap as Violence (possibly even cheaper), but it’s very specific about who its anti-Semitic antagonists hate.

Open Secret grabs viewers right from the beginning with a pre-credits sequence. (A rare occurrence in movies made in the ’40s.) A man walks into the back room of a bar, where a group of men sit around a poker table, and stands in the shadows, his face hidden. The camera pans across the men’s faces until one of the men finally speaks. “He’s guilty,” he says. “Well, get going,” says the man in the shadows. The men get going, and walk by Marathon Pictures Presents painted on the side of a fence like “Kilroy Was Here.”

The following 66 minutes of Open Secret don’t always live up to to the exciting promise of the first 2, but it’s briskly paced and features a good lead performance by the always-dependable John Ireland. He’s reunited with Jane Randolph, his co-star from Railroaded (1947). They play a newlywed couple, Paul and Nancy Lester, who are the polar opposites of the boozy thugs they played in Railroaded.

Faced with a hotel shortage on their honeymoon, Paul and Nancy stay with Paul’s old friend Ed Stevens (Charles Waldron Jr.), and are shocked when they find pamphlets in his apartment with titles like “The White Knight” and “Were the Nuremberg Trials Fair?”

“Somebody probably stuffed them in his mailbox. Must be. Ed isn’t like that,” Paul says to his wife.

Open Secret has all the hallmarks of a B picture. Like similar offerings from Monogram Pictures and P.R.C., the sets look like they’d fall over if one of the actors sneezed, the music is obtrusive, and the supporting players’ acting is more wooden than a Louisville Slugger. But on the plus side it has an interesting premise, a decent script, and the “star” players are all convincing. I always enjoy seeing Sheldon Leonard (he plays a detective in Open Secret), and George Tyne, who plays Harry Strauss, the proprietor of a camera shop, is also good.

Strauss is targeted by his prejudiced neighbors, not only because he’s Jewish, but because he’s in possession of some damning photographic evidence.

Open Secret is also interesting because it’s the earliest film I’ve seen in which a television is present. There’s a scene in Strauss’s shop that shows him and another man watching a baseball game on the television behind his counter. Full-scale commercial television broadcasting began in 1947, and televisions started showing up in large numbers in bars, hotels, and private homes, but Open Secret is the first film in which I’ve seen characters watching television.

Excluding science-fiction films, does anyone know of an earlier film that showed people watching television? If you do, please comment.

Railroaded (Sept. 25, 1947)

Anthony Mann’s Railroaded represents a number of missed opportunities and a few modest successes.

In 1947, Mann made his first really good film noir, Desperate, which was released by RKO Radio Pictures. It wasn’t a perfect film, but the actors were decent, the story was suspenseful, and many of the lighting setups by Mann and his cinematographer, George E. Diskant, were stunning.

Railroaded was the next film he made. While I was watching it, I found myself frequently saying “If only…”

If only the script was more focused. If only the music wasn’t so terrible. If only the actors were talented. If only the film featured more screen time for the interesting villains and less screen time for the uninteresting heroes. If only Mann had been given a larger budget. If only he had worked with cinematographer John Alton.

But if you want to watch that kind of movie, you have to dig into Mann’s later work; his six collaborations with Alton, made between 1947 and 1950, or the five westerns he made with James Stewart between 1950 and 1955. Railroaded is a modestly entertaining little picture if you have no expectations, but if you’re familiar with Mann’s later work, it’s bound to disappoint.

Mann made Railroaded for Producers Releasing Corporation (P.R.C.), a dependable old Poverty Row workhorse. It was the last really cut-rate movie that Mann would make. (P.R.C. was in the process of being bought by the powerful British film distributor J. Arthur Rank, and P.R.C.’s name would soon be changed to “Eagle-Lion International” to class it up a little. It was through Eagle-Lion that Mann’s excellent T-Men would be released later in 1947.) While Mann’s budgets were low, he was able to work with less studio control at Eagle-Lion International than he had been faced with at RKO, Universal, Paramount, and Republic.

In Jeanine Basinger’s book Anthony Mann (published in 1979; expanded and republished in 2007), she writes that Railroaded “is more unified than Desperate and points toward the coherence of Mann’s later works. It is perhaps his first really unified film, presenting the story of a young woman … and her attempts to clear her brother’s name of a murder charge.” I don’t agree with Basinger’s assessment, and find Railroaded an even more uneven film than Desperate.

Guy Roe was Mann’s cinematographer on Railroaded, and even though he’s not as good as Alton, there are still a number of impressive sequences, particularly the robbery that opens the picture.

John Ireland (the only actor in the film with any talent) plays a sneering criminal named Duke Martin who perfumes his bullets. (What’s a B-noir bad guy without a gimmick or two?)

The robbery is of a joint controlled by Jackland Ainsworth (Roy Gordon). It’s a numbers operation hidden in the back of a beauty shop run by Clara Calhoun (Jane Randolph). Clara is Duke’s girlfriend, and the inside job was supposed to be a cinch, but the cops show up, and Duke snuffs one of them, which sets the events of the film in motion.

Duke arranged everything to point in the direction of a patsy, Steve Ryan (Ed Kelly). Steve is a young guy who lives with his sister, Rosie Ryan (Sheila Ryan), and his mother, Mrs. Ryan (Hermine Sterler). At the breakfast table, Rosie talks about the movie she saw the night before, and how she cried at the end, when the police got their man. Even though he was a criminal, she felt bad for him. Steve is unsympathetic, and says “Maybe some guys need a goin’ over.” Minutes later the police bust in and arrest him for murder. (John C. Higgins’s screenplay, which is based on a story by Gertrude Walker, could have used more clever and ironic moments like this one.)

Things look bad for Steve. Duke used Steve’s scarf as a mask during the robbery. Steve’s car was stolen and used as the getaway vehicle. A paraffin test to see if Steve has recently fired a gun comes up negative, but that doesn’t mean much after Duke’s partner, Cowie Kowalski (Keefe Brasselle), who was shot during the robbery, gives a deathbed confession that implicates Steve.

Railroaded isn’t actually a very accurate title for the film, since the cops don’t railroad Steve. They work with the evidence they have. (Framed would have been a more accurate title.) Unlike Desperate, which followed an innocent man’s terrifying flight from both gangsters and the police, the unjustly accused protagonist of Railroaded pretty much disappears from the film as soon as he’s jailed. Enter Sgt. Mickey Ferguson (Hugh Beaumont), a police detective who grew up in the same neighborhood as the Ryans, and is still sweet on Rosie.

Rosie believes her brother is innocent, and eventually starts to convince Sgt. Ferguson. This is where the picture really took a nosedive for me. Sheila Ryan is nice to look at, but she’s a completely unconvincing actress. Beaumont is even worse. He brings the same gravitas to his role as Sgt. Ferguson that he did to the scenes on TV a decade later in which he punished Wally and The Beav. Watching his scenes is like watching grass grow, and he and Sheila Ryan are the protagonists of Railroaded, not bit players.

With no one to root for, the only enjoyment I got out of Railroaded was watching John Ireland’s scenes, especially the ones with Jane Randolph. With the heat on, Duke orders Clara to hole up and stay off the booze. He’s planning one last score — a robbery of the Club Bombay, where the vigorish from Ainsworth’s bookie shops goes. Duke figures he can get revenge on Ainsworth and make off with $30 to $40 grand, which he’ll use to finance his and Clara’s getaway to South America. Of course, he can’t keep Clara off the sauce, but things aren’t all bad, since occasionally something exciting happens, like a vicious catfight Clara gets into with Rosie that Duke impassively watches while hidden:

Railroaded is a pretty typical P.R.C. product. The sets look like they’re made out of cardboard, the dialogue is stilted, the music is awful, and actors who can carry a scene are in the minority. Stretches of the film are entertaining, and occasionally the cinematography and editing create suspense and some real excitement, but overall, this isn’t one of Mann’s better pictures. There are plenty of people who champion the film, but for me, if a picture doesn’t have decent actors and strong characterizations, it doesn’t hang together. A few great scenes do not a great film make.

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