FilmFanatic.org

Synopsis:
A fire chief (Steve McQueen) collaborates with the architect (Paul Newman) of a burning high-rise to help save the hundreds of people inside.

Genres, Themes, Actors, and Directors:

• Disaster Flicks
• Ensemble Cast
• Faye Dunaway Films
• Fred Astaire Films
• Jennifer Jones Films
• Paul Newman Films
• Richard Chamberlain Films
• Steve McQueen Films
• William Holden Films

Review:
It’s not clear to me why Peary left out this blockbuster disaster flick — which deservedly won Oscars for both best cinematography and best editing — from his GFTFF, given that it remains one of the best of this distinctive (albeit overly and badly populated) genre. Despite its nearly three-hour running time, The Towering Inferno — unlike oh-so-many of its would-be imitators — never lags, providing thrill after thrill, and keeping us consistently engaged in the fates of its cast members from the opening scenes. Newman and McQueen are both excellent (and appropriately stalwart) in critical leading roles:

and several other Big Names (Fred Astaire, Jennifer Jones, William Holden):

are given worthy supporting roles. Meanwhile, the film’s very premise — a wealthy playboy (Richard Chamberlain, giving a truly hiss-worthy performance):

cuts costs by ordering inferior materials, which ultimately compromise the structure’s integrity — is gripping through-and-through, given how feasible this type of high-level corruption could easily be. Holden’s role — as Chamberlain’s father-in-law, and the building’s financier — is particularly interesting to watch, as he comes to acknowledge his own implicit participation in the eventual manslaughter, and is crushingly humbled.

Be forewarned, however, that TTI (as it’s affectionately referred to by its cult fans) really isn’t for the faint of heart. Nice people die throughout this movie — several times, badly, of horrible deaths. Certain images eerily evoke 9/11; the comparison is undeniable. Indeed, if you possess even a shred of fear about dying in a fire one day, stay far, far away from this film, as it presents this possibility in all its visceral horror. Actually, I’m seriously tempted to label TTI a “horror flick”, given the sheer potency of its death scenes, and the way in which Fire is posited as an outrageously powerful Monster, capable of causing unspeakable harm to those in its wake. Be sure to read TCM’s article for plenty of interesting background information about the film’s production (and infamously sticky inter-cast relations) — or go straight to the source and check out this impressive website (19 years old! beware of some dead links…) dedicated exclusively to the film.

Redeeming Qualities and Moments:

• Truly impressive special effects
  
  
• Stirling Silliphant’s surprisingly smart screenplay

Must See?
Yes, for its historical relevance as one of the best of the early big-budget, big-cast, big-money-making disaster flicks.

Categories

• Cult Movie
• Historically Relevant
• Oscar Winner or Nominee

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• TCM Article
• Time Out Capsule Review

Synopsis:
An aspiring singer (Susan Hayward) gives up her career for marriage, then suffers from jealousy and despondency — fueled by alcohol — when her husband (Lee Bowman) suddenly becomes a hit radio star.

Genres, Themes, Actors, and Directors:

• Alcoholism and Drug Addiction
• Downward Spiral
• Marital Problems
• Susan Hayward Films

Review:
In his Alternate Oscars book, Peary argues that Susan Hayward is the actress from the forties and fifties who “most needs rediscovery”. In addition to awarding her Best Actress of the Year in 1958 for I Want to Live!, he nominates her no less than three other times — yet he neglects to include the titles of two of these four films in his own GFTFF: I’ll Cry Tomorrow (1955), an adaptation of Lillian Roth’s best-selling memoir about her battles with alcoholism (certainly worth a look for Hayward’s performance, but ultimately not must-see); and this film, an unsung “female” counterpoint to Billy Wilder’s Oscar-winning The Lost Weekend, and a minor must-see title.

Bolstered by a brave, nuanced, and sympathetic central performance by Hayward, the Oscar-nominated script manages to portray the insidious effects of alcoholism (still a mostly misunderstood disease at the time) within the context of a woman who is subconsciously devastated by the “need” to give up her own career for the presumed ideal of marriage and motherhood. Despite the overly simplistic rationale provided for why Hayward drinks too much (while she once drank for courage on stage, she’s soon drinking to assuage her increasing feelings of jealousy and inadequacy), it’s nonetheless impressive to watch a film about marital dysfunction in which neither party is truly to blame. Knowing as we do now that alcoholism is an addiction, it’s painful to watch Bowman treating Hayward with such disdain late in their marriage — but his actions and attitude are somewhat understandable, given that she really does make a mess of things. We are genuinely rooting for both these individuals throughout the entire film — a rare and worthy feat for a movie of this kind.

Redeeming Qualities and Moments:

• Susan Hayward as Angie Conway
  
• Stanley Cortez’s cinematography
  
• A few-holds-barred look at the havoc wreaked on a marriage by alcoholism
  

Must See?
Yes, for Hayward’s Oscar-nominated central performance, and as a fine early film about alcoholism.

Categories

• Noteworthy Performance(s)
• Oscar Winner or Nominee

Links:

• IMDb entry
• TV Guide Review (Spoiler Alert!)

Synopsis:
Bob and Dorothy DeBolt maintain a loving household of both biological and adopted children (many of whom have physical disabilities).

Genres, Themes, Actors, and Directors:

• Disabilities
• Documentary
• John Korty Films
• Raising Children

Review:
The DeBolt family — a dauntingly enormous crew of biological and adopted children — grew gradually, over a number of years: after giving birth to several kids of their own, Dorothy DeBolt and her first husband decided to adopt a few special-needs kids from around the world; shortly after her husband died, Dorothy met and married Bob DeBolt (with one biological daughter of his own), and they proceeded to adopt even more children, eventually raising 20 altogether (though they “only” had 19 at the time this film was made). The DeBolts ultimately come across like the Brady Bunch on overdrive, with countless personal struggles to overcome, but an overriding sense of unity and pride holding them together through thick and through thin.

While director John Korty and his crew have been accused of sugar-coating the DeBolts’ existence by showing a preponderance of family sing-alongs and playful holiday adventures (rather than day-to-day squabbles, for instance), this can easily be forgiven, given the invaluable insights we gain into Dorothy and Bob’s unique philosophy of child-rearing. Their driving belief is that each child, no matter how physically challenged, should be as responsible for him or herself as possible. Their son J.R., for instance — both blind and paralyzed from the waist down — is taught to get himself safely down the porch stairs to wait for the bus; it may take him 15 minutes to do so, but he develops a routine that works, and he’s able to do it on his own.

Meanwhile, Karen — a feisty girl with no limbs — is able to adroitly put all her appendages on herself, and doesn’t allow her impediments to get in the way of having as much fun as possible.

You’re guaranteed to watch Who Are the DeBolts? with a sense of both joy and respect for this unusual family; within the space of just 72 minutes, they have something to teach us all.

Redeeming Qualities and Moments:

• Many heartwarming scenes of personal triumph and family unity
  
  
  

Must See?
Yes, as a most enjoyable and inspirational Oscar-winning documentary.

Categories

• Oscar Winner or Nominee

Links:

• IMDb entry
• All Movie Guide Review

Synopsis:
An eccentric millionaire (Truman Capote) invites a group of renowned detectives — including Sam Diamond (Peter Falk), Dick and Dora Charleston (David Niven and Maggie Smith), Sidney Wang (Peter Sellers), Jessica Marbles (Elsa Lanchester), and Milo Perrier (James Coco) — to his house on a stormy evening, challenging them to solve a murder mystery before it occurs.

Genres, Themes, Actors, and Directors:

• Alec Guinness Films
• David Niven Films
• Detectives and Private Eyes
• Elsa Lanchester Films
• Ensemble Film
• Maggie Smith Films
• Murder Mystery
• Neil Simon Films
• Old Dark House
• Peter Falk Films
• Peter Sellers Films
• Play Adaptation
• Satires and Spoofs

Review:
Neil Simon’s all-star spoof of literary detectives and Old Dark House murder mysteries was an enormous hit the year it was released, and remained a popular re-run on television for years thereafter.

A host of big-name actors give boldly satirical performances playing humorous variations on Charlie Chan, Miss Marple, Hercules Poirot, Nick and Nora Charles, and Sam Spade/Philip Marlowe — with Peter Falk in the latter role given some of the best lines in the film:

Locked, from the inside. That can only mean one thing. And I don’t know what it is.

Alec Guinness, however, steals the show as an hysterically incompetent blind butler; his attempts to communicate with a deaf/mute maid (Nancy Walker) are priceless.

Meanwhile, in his first and (mercifully) final acting role, Truman Capote gives a distinctly underwhelming and snively performance as millionaire Lionel Twain:

Fortunately, he’s not on-screen for very long. While the script itself isn’t quite as consistently amusing or clever as fans may remember from earlier viewings, I’m nonetheless including Murder by Death here as a Missing Title, given its enduring cult status — film fanatics will want to watch it at least once.

Redeeming Qualities and Moments:

• Peter Falk as Sam Diamond
  
• Alec Guinness as Bensonmum
  
• David Niven and Maggie Smith as Dick and Dora Charleston
  
• Eileen Brennan as Tess Skeffington
  
• Plenty of clever satirical dialogue:
  

  “Conversation like television set on honeymoon: unnecessary.”

Must See?
Yes, as an enduring cult favorite.

Categories

• Cult Movie

Links:

• IMDb entry
• NY Times Original Review
• All Movie Guide Review
• Spinning Image Review
• TCM Article
• Time Out Capsule Review

Synopsis:
During World War II, a sadistic military prison warden (Harry Andrews) in North Africa makes life miserable for a group of detainees — particularly “busted” Sergeant-Major Roberts (Sean Connery).

Genres, Themes, Actors, and Directors:

• Harry Andrews Films
• Michael Redgrave Films
• Play Adaptation
• Prisoners of War
• Ruthless Leaders
• Sean Connery Films
• Sidney Lumet Films
• World War Two

Review:
Based on a T.V. play by Ray Rigby, Sidney Lumet’s film about a ruthless military warden making life miserable for his minions in the heat and dust of North Africa is brutal, uncompromising fare, and often difficult to stomach — but ultimately so powerful in both its message and its delivery that it’s worth viewing. Sean Connery — hoping to shift away from his suave James Bond persona — took a break between Goldfinger (1964) and Thunderball (1965) to play Joe Roberts, a sergeant-major censured for hitting his superior and refusing to send his men into a suicidal battle mission.

Because he and his cellmates (Ossie Davis, Alfred Lynch, Roy Kinnear, and Jack Watson) are presumed to be cowards hoping to get out of active military service, Andrews and his equally sadistic chief officer (Ian Hendry) do whatever they can to break the men’s spirits and bodies — including sending them pointlessly up and down the film’s titular manmade dirt “hill”. The increasingly grim situation finally comes to a head when one of the new inmates dies from heat stroke, and Hendry is accused by the prisoners of murder.

The subject matter is harsh, but the performances are superb — particularly Connery and Andrews, as well as Ossie Davis in a supporting role as a soldier from the West Indies who must put up with merciless racism on top of other indignities. Meanwhile, Oswald Morris’s crisp black-and-white cinematography is the perfect choice for such a bleak historical setting, and Rigby’s scathing dialogue is smartly conceived. (Note, however, that even native English speakers will want to have the subtitles on, since it’s often difficult to make out what the actors are saying.) Ultimately, while The Hill isn’t a film for the light of heart, those interested in exploring military power dynamics taken to a fatal extreme will surely be interested to check it out. It’s a surprising omission from Peary’s book — especially given that he awards Connery an Alternate Oscar as best actor of the year in his Alternate Oscars book.

Note: Watch for Michael Redgrave in a small but effective supporting role as a sympathetic military doctor.

Redeeming Qualities and Moments:

• Sean Connery as Roberts
  
• Harry Andrews as RSM Wilson
  
• Ossie Davis as Jocko
  
• Oswald Morris’s b&w cinematography
  
  

Must See?
Yes, for Connery’s noteworthy performance.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• All Movie Guide Review
• DVD Savant Review (scroll down to last review)
• Time Out Capsule Review

Synopsis:
A disaffected teen (Sean Penn) and his brother (Chris Penn) go to work for their long-lost father (Christopher Walken), a psychopathic gangster who will stop at nothing to maintain his power.

Genres, Themes, Actors, and Directors:

• Christopher Walken Films
• Father and Child
• Gangsters
• Psychopaths

Review:
Based on the true story of Pennsylvania gangster Bruce Johnson, Sr. — whose son, Bruce Jr., notoriously testified against him in court — At Close Range isn’t listed in Peary’s book, but remains must-see viewing for the fine central performances given by Walken (he’s never been creepier) and young Sean Penn. Director James Foley — working with d.p. Juan Ruiz Anchaa and composer Patrick Leonard — creates a memorable, haunting ambience for this brutal tale of family ties gone wrong; the stylized visuals and soundtrack are consistently compelling, even as the story itself becomes more and more disturbing. Screenwriter Nicholas Kazan effectively depicts both the joy Penn feels at finally finding “meaning” in his life, as well as the utter paranoia he experiences once his loved ones are killed off one by one, and he realizes he’s gotten into a much deadlier situation than he ever anticipated. Expect plenty of violence and murder in this true-life story, which remains relatively faithful to its source “material”; not even Penn’s sweetly filmed romance with his gorgeous, feisty girlfriend (Mary Stuart Masterson) remains unscathed. At Close Range may be too brutal to merit multiple viewings, but it certainly deserves a visit at least once by all film fanatics.

Redeeming Qualities and Moments:

• Sean Penn as Brad, Jr.
  
• Christopher Walken as Brad, Sr.
  
• Mary Stuart Masterson as Terry
  
• Juan Ruiz Anchia’s rich cinematography
  
• The evocative opening credits
  
• Patrick Leonard’s haunting score

Must See?
Yes, for the riveting lead performances by Penn, Walken, and Masterson.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
A young boy (William Dix) recently released from a mental institution is convinced that his nanny (Bette Davis) is out to kill him; but neither his no-nonsense father (James Villiers) nor his mother (Wendy Craig) — emotionally fragile after the drowning death of her young daughter (Angharad Aubrey) — believes him.

Genres, Themes, Actors, and Directors:

• Bette Davis Films
• Governesses and Nannies
• “No One Believes Me!”
• Psychological Horror

Review:
Some film fanatics would understandably consider nearly every movie Bette Davis starred — or co-starred — in to be a “must see” film, simply for her presence; while I wouldn’t go quite that far (I’m not a fan of All This, and Heaven Too, just to name one instance), I do believe her work in The Nanny — a worthy psychological thriller in its own right — was unjustly overlooked by Peary in his Guide for the Film Fanatic, and deserves mention here as a Missing Must See Film. It was made three years after Davis’s Oscar-nominated title role in What Ever Happened to Baby Jane? (1962), and was clearly meant to capitalize on her new role as Mistress of Grand Guignol (check out her over-the-top beetle brows!). As always, however, Davis invests herself fully in her character, adding layers of nuance to what could easily have been a mere caricature; watch her eyes alone to see what a remarkably versatile and meticulous performer this star really was.

The script (by Jimmy Sangster, based on a novel by Marryam Modell) is consistently suspenseful and well-constructed, leading one to question who’s really disturbed — Joey? Nanny? — until close to the end, when deep, dark truths are finally revealed; yet even knowing the film’s secrets doesn’t prevent repeat viewings from being a pleasure, given that one simply watches the characters with new insights. Much of the film’s success is due to the fine performances given by the entire cast. Dix may get on your nerves playing obnoxious little Joey, but this is exactly what he’s meant to do, and he’s certainly more than simply a bratty little whiner; we genuinely believe he’s scared for his life, and doing what he can to protect himself from deathly harm. Meanwhile, Craig is appropriately on edge as Joey’s jittery mother, who means well but is too emotionally fragile to be of much use as a guardian, and Jill Bennett is well cast as her more level-headed sister. Henry Waxman’s atmospheric cinematography and Richard Robert Bennett’s creepy, memorable score contribute towards The Nanny‘s status as an all-around good show, one film fanatics will surely want to check out at least once.

Note: Director Seth Holt didn’t make many other films, but he did direct the fine suspense thriller Scream of Fear (1961), starring Susan Strasberg.

Redeeming Qualities and Moments:

• Bette Davis as Nanny
  
• William Dix as Joey
  
• Wendy Craig as Joey’s mother
  
• Jill Bennett as Aunt Pen
  
• Pamela Franklin in a bit role as Joey’s neighbor friend, Bobbie
  
• Angharad Aubrey as little Susy (in flashbacks)
  
• Harry Waxman’s cinematography
  
• A genuinely disturbing and suspenseful script
  
• Richard Rodney Bennett’s memorable score

Must See?
Yes, for Davis’s performance, and as an all-around good psychological horror flick.

Categories

• Good Show
• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• BBC Review
• Time Out Capsule Review

Synopsis:
A little boy (Richie Andrusco) who mistakenly believes he’s murdered his older brother (Ricky Brewster) flees to Coney Island, where he survives on his own until his brother finds him.

Genres, Themes, Actors, and Directors:

• Carnivals and Circuses
• Childhood
• New York City
• Runaways
• Siblings
• Survival

Review:
It’s difficult to understand how Peary missed listing this unique little film in his book as must-see, given its significance on several levels — its cinematic influence on the French New Wave, its status as a “cultural window” into New York’s Coney Island in the 1950s, and its Oscar-nominated screenplay. The story of how husband-and-wife team Morris Engel and Ruth Orkin — with the assistance of a few friends and colleagues — made this cinema verite film on location in New York with a shoestring budget and amateur actors has gone down in cinematic history, as has Francois Truffaut’s quote that “our New Wave would never have come into being if it hadn’t been for the young American Morris Engel, who showed us the way to independent production with his fine movie, Little Fugitive“. Most importantly, however, it is an enjoyable, finely crafted story, told simply but well.

It’s remarkably easy to forget that Little Fugitive (an exemplar of American neo-realism) is a fiction film, given how fully “invested” unknown Richie Andrusco is in the central role of Joey; it’s his ease in front of the camera that propels the story through its mostly wordless screenplay. Richard Brewster as Joey’s brother Lennie does a fine, natural job as well, as does Jay Williams (playing himself?) as Jay the Pony Man at Coney Island, who becomes Joey’s closest pal. At times the film’s ultra-low budget is glaringly apparent, especially when it comes to sound; indeed, the entire film was shot without sound, to save money, with dialogue dubbed in later, and Foley artists providing ambient sound. However, once you accept this limitation, it simply adds to the film’s overall charm. Another low-budget concession — Lester Troob’s harmonica-rich score in place of a “traditional” orchestral score — is a winning element as well, and quickly becomes a defining aspect of the film (I love how Joey later finds an abandoned harmonica on the beach, thus creating an additional meta-narrative tie to the score).

There are many memorable moments sprinkled throughout the movie: my favorites include Joey fooling around with an old-fashioned view camera while its operator is away processing a still (I love the cameraman’s reaction when he comes back to find Joey under the camera’s hood — he’s bemused rather than annoyed):

… and Joey carefully convincing a baby on the beach to give up the glass bottle he’s been using as a sand toy.

(Given that Engel and Orkin used “real” extras, the cultural mix of visitors is refreshingly authentic.) Equally fascinating, however, are the many “time capsule” shots — functioning as ambience rather than to propel the narrative — which simply show Coney Island as it once was, with lovers and families of all kinds out for a good time.

Redeeming Qualities and Moments:

• Richie Andrusco as Joey
  
• Richard Brewster’s as Joey’s brother Lennie
  
• Jay Williams as Jay the Pony Man
  
• Fine on-location, hand-held cinematography
  
• An invaluable time-capsule view of Coney Island in the 1950s
  
  
  
• Lester Troob’s harmonica-driven score

Must See?
Yes, for its historical significance as an Oscar-nominated, groundbreaking, influential independent film — and as an all-around good show! It was inducted into the National Film Registry in 1997.

Categories

• Good Show
• Historically Relevant
• Oscar Winner or Nominee

Links:

• IMDb entry
• NY Times Original Review
• TCM Article

Synopsis:
In the radically overpopulated future, a New York City detective (Charlton Heston) enlists the help of his roommate (Edward G. Robinson) in unraveling the gruesome mystery behind the assassination of a manufacturing magnate (Joseph Cotten).

Genres, Themes, Actors, and Directors:

• Charlton Heston Films
• Detectives and Private Eyes
• Edward G. Robinson Films
• Joseph Cotten Films
• Murder Mystery
• New York City
• Science Fiction

Review:
Soylent Green holds the distinction of being perhaps the most “spoiled” film of all time, given the notoriety of its final “giveaway” line (chosen as #77 on the AFI’s list of top 100 movie quotes, and infamously lampooned by Phil Hartman on “Saturday Night Live”). It’s also notable for containing the last screen performance of Edward G. Robinson, who died nine days after shooting his final touching scene. Therefore, it’s particularly odd that Soylent Green — based loosely on the book “Make Room! Make Room!” by Harry Harrison (who was decidedly unhappy with the changes made to his story) — is not included in Peary’s book, especially given that the film itself remains a surprisingly effective, only slightly dated dystopian drama. (And it should be noted that knowing the “secret ingredient” contained in the titular foodstuff doesn’t take away from one’s repeat viewing pleasure.)

Heston — “an actor who has had better last movie lines than any other star”, according to Stomp Tokyo’s reviewers — is appropriately stalwart as the hard-nosed detective who is determined to uncover the conspiracy behind Cotten’s death:

but is never above taking advantage of the amenities (namely wildly overpriced foodstuff) he encounters during his investigation.

Meanwhile, Robinson is a class-act in his final role as Heston’s roommate, a “Book” (so-named because he actually reads) who remembers long-gone days of bountiful flora and fauna on Earth; his delight at eating a piece of genuine beef is a joy to watch, and his final scene in the film (considered hokey by some) never fails to move me to tears. I’m also impressed by the simple yet effective way in which New York City is portrayed as drastically overpopulated, with Heston literally crawling over live bodies sprawled up and down stairwells, and crowd members serving as gruesomely effective “body armor” during assassination attempts.

The film’s main flaw is its decidedly anti-feminist portrayal of women, who are (for the most part) either kerchief-clad personae non gratae, or beautiful and sexually compliant “furniture” (ouch!) for wealthy men — yet this gender-biased vision of the future is, sadly, perhaps not all that unrealistic, making Soylent Green all the more effective as a disturbing cautionary tale.

Redeeming Qualities and Moments:

• Edward G. Robinson (in his final role) as Sol
  
• Charlton Heston as Detective Thorn
  
• A surprisingly effective portrayal of a devastated future
  
• Sol’s touching final scene
  

Must See?
Yes, for its historical notoriety.

Categories

• Historically Relevant

Links:

• IMDb entry
• NY Times Original Review
• Stomp Tokyo Review
• Moria Review
• TCM Article
• Time Out Capsule Review

Synopsis:
In order to get parole and spend time with his new wife (Coleen Gray) and children, a thief (Victor Mature) decides to rat on his partners, risking the wrath of a psychopathic con named Tommy Udo (Richard Widmark).

Genres:

• Brian Donlevy Films
• Cat-and-Mouse
• Coleen Gray Films
• Ex-Cons
• Karl Malden Films
• Mildred Dunnock Films
• Revenge
• Richard Widmark Films
• Thieves and Gangsters
• Victor Mature Films

Review:
Henry Hathaway’s Kiss of Death is a curious omission from Peary’s book, given that it contains one of the most infamous scenes in all of noir history: Richard Widmark’s psychotic “Tommy Udo” gleefully shoving wheelchair-bound Mildred Dunnock down a staircase, in order to teach her “squealing” son a lesson.

Indeed, Kiss of Death brought immediate fame to Widmark, and it’s easy to see why: while many note that Mature gives one of the best performances of his career here, his character:

— a conflicted con hoping for a second chance — is literally dwarfed by Udo, who dominates each scene he’s in.

As played by Widmark, giggling Udo emerges as one of the quintessential “villains” of cinema; critic James Agee (cited in the All Movie Guide OVerview) wrote, “You feel that murder is the kindest thing he’s capable of.” The film itself (co-written by Ben Hecht and Charles Lederer) is competent noir, with several suspenseful sequences (particularly the final showdown between Mature and Widmark) and atmospheric location cinematography in New York City — but it’s Widmark who ultimately elevates it to “must see” status.

Note: Blink and you’ll miss Karl Malden in a tiny role as a police sergeant grilling Mature.

Redeeming Qualities and Moments:

• Richard Widmark in a career-making turn as Tommy Udo
  
• Victor Mature as Tony Bianco
  
• Coleen Gray as Mature’s love interest
  
• Effective use of New York locales
  
• Norbert Brodine’s noir-ish cinematography
  

Must See?
Yes, for Richard Widmark’s truly noteworthy, Oscar-nominated performance.

Categories

• Noteworthy Performance(s)
• Oscar Winner or Nominee

Links:

• IMDb entry
• Noir of the Week Review
• NY Times Original Review
• TV Guide Review
• Time Out Capsule Review