Looking at the casting and production of this film, and even the title, an informed viewer must wonder about who was the guiding genius behind it. The romantic leads, William Holden and Nancy Olsen, just played the similar leads in a tragically doomed love affair in Billy Wilder's SUNSET BOULEVARD. The director, Rudolph Mate, was better known for his cinematography up to a few years earlier. But by 1950 he had THE DARK PAST (also with Holden and Lee J. Cobb) and D.O.A. (with Edmond O'Brien) under his belt...and there were more to come. The villain (in only his third film) was the terrific bad guy Lyle Bettger - about to fully blossom in what was the best role in this film (but bad guys usually got the best roles in "film noir"). Barry Fitzgerald is here playing a version of his Police Detective from THE NAKED CITY. In supporting parts are Jan Sterling, Allene Roberts, Herbert Heyes, Parley Baer, Ralph Sanford, and even Byron Foulger. This film has everything going for it - even the location is suggestive of potential tragedy.
In 1933 the FBI suffered the worst loss of personal in it's early history when four of it's agents, while escorting some prisoners, were ambushed in a botched attempt to spring the prisoners. The four men were machine-gunned to death as were the two prisoners (I said it was botched). As a result J.Edgar Hoover got Congress to pass legislation allowing F.B.I. men to carry arms into the field (something the states had rejected at first). The killings were later ascribed (probably truthfully) to "Pretty Boy" Floyd's gang, but nobody was ever punished for the killings. The incident happened in the parking area of UNION STATION in Kansas City. In fact, it is historically called "The Union Station Massacre".
Oddly enough no regular film was ever done of the true story - although a fictionalized television film was made in the 1970s. But this is such a good thriller it will do for it's acting (especially Bettger) and production values.
Olson is a secretary to Heyes, a very wealthy man who has a single child - Roberts. Originally Roberts had all her senses, but she has become blind. When she vanishes, Olson becomes suspicious of two men on a commuter train (Bettger and an associate) who she follows to Union Station. She approaches Holden and he uses his staff of railway police to follow them and see where they put away a piece of luggage. After they leave Holden prepares to open the locker to verify that Olson thinks they have a gun in there. But he insists on doing everything by the book - much to Olsen's disgust. He does not want law suits against himself, his men, the staff of the station or the station itself. He insists on her name and address, and Olsen - very angrily - gives it to him. Then the locker is checked, and Olsen's information verified.
This is how the film progresses, and adds to the tensions of the story. Bettger is a border-line psychotic (he enjoys some taunting of his victims, but he keeps his eyes on the goal of the kidnap ransom). He has spent five years in prison for a hold-up (he angrily dismisses the event, calling the filling-station robbery a "coffee and cake" affair). While there he thought out this meticulous crime - all centered on the station. As he is willing to use and kill people to get his results he constantly keeps one step ahead of his pursuers.
But Holden and his regular police force Detective Fitgerald have to move more slowly. They have to play by limitations and rules they are assigned to uphold (though at one point they give one of Bettger's associates a "third degree" good cop - bad cop grilling that gets results with near violence). They also are hamstrung because of Heyes, who is frightened at the threat to his helpless daughter and agrees to anything Bettger demands.
So Bettger, despite the losses of two associates, is always in the lead - and calling the shots to the conclusion of the film. His key to success is his hold on Roberts, a helpless victim who cannot fight on equal terms. If the forces of law and order want to find her alive (a point that Bettger really could not care about) they have to follow his tune.
The actors are all good, with Holden and Olsen gradually finding reasons to appreciate each other more and more. Fitzgerald has no moment (as in THE NAKED CITY) outlining his model for solving crimes. But he and Holden do discuss (after the death of a policeman) the limits of following the book and rules in moments of danger. Holden feels that such behavior only ends with the party on a slab in a morgue, but Fitzgerald says that kind of bravery wins battles. It's a lesson Holden takes to heart.
The supporting actors too are good - in particular Jan Sterling as Bettger's lover and most sympathetic gang member.
On the whole UNION STATION is a wonderful film noir, and a must see film.
In 1933 the FBI suffered the worst loss of personal in it's early history when four of it's agents, while escorting some prisoners, were ambushed in a botched attempt to spring the prisoners. The four men were machine-gunned to death as were the two prisoners (I said it was botched). As a result J.Edgar Hoover got Congress to pass legislation allowing F.B.I. men to carry arms into the field (something the states had rejected at first). The killings were later ascribed (probably truthfully) to "Pretty Boy" Floyd's gang, but nobody was ever punished for the killings. The incident happened in the parking area of UNION STATION in Kansas City. In fact, it is historically called "The Union Station Massacre".
Oddly enough no regular film was ever done of the true story - although a fictionalized television film was made in the 1970s. But this is such a good thriller it will do for it's acting (especially Bettger) and production values.
Olson is a secretary to Heyes, a very wealthy man who has a single child - Roberts. Originally Roberts had all her senses, but she has become blind. When she vanishes, Olson becomes suspicious of two men on a commuter train (Bettger and an associate) who she follows to Union Station. She approaches Holden and he uses his staff of railway police to follow them and see where they put away a piece of luggage. After they leave Holden prepares to open the locker to verify that Olson thinks they have a gun in there. But he insists on doing everything by the book - much to Olsen's disgust. He does not want law suits against himself, his men, the staff of the station or the station itself. He insists on her name and address, and Olsen - very angrily - gives it to him. Then the locker is checked, and Olsen's information verified.
This is how the film progresses, and adds to the tensions of the story. Bettger is a border-line psychotic (he enjoys some taunting of his victims, but he keeps his eyes on the goal of the kidnap ransom). He has spent five years in prison for a hold-up (he angrily dismisses the event, calling the filling-station robbery a "coffee and cake" affair). While there he thought out this meticulous crime - all centered on the station. As he is willing to use and kill people to get his results he constantly keeps one step ahead of his pursuers.
But Holden and his regular police force Detective Fitgerald have to move more slowly. They have to play by limitations and rules they are assigned to uphold (though at one point they give one of Bettger's associates a "third degree" good cop - bad cop grilling that gets results with near violence). They also are hamstrung because of Heyes, who is frightened at the threat to his helpless daughter and agrees to anything Bettger demands.
So Bettger, despite the losses of two associates, is always in the lead - and calling the shots to the conclusion of the film. His key to success is his hold on Roberts, a helpless victim who cannot fight on equal terms. If the forces of law and order want to find her alive (a point that Bettger really could not care about) they have to follow his tune.
The actors are all good, with Holden and Olsen gradually finding reasons to appreciate each other more and more. Fitzgerald has no moment (as in THE NAKED CITY) outlining his model for solving crimes. But he and Holden do discuss (after the death of a policeman) the limits of following the book and rules in moments of danger. Holden feels that such behavior only ends with the party on a slab in a morgue, but Fitzgerald says that kind of bravery wins battles. It's a lesson Holden takes to heart.
The supporting actors too are good - in particular Jan Sterling as Bettger's lover and most sympathetic gang member.
On the whole UNION STATION is a wonderful film noir, and a must see film.