Cry Danger (1951)
Humphrey Bogart smiles. Robert Mitchum smiles. Lots of tough film noir types also show a grin or manage a laugh. But not Dick Powell. Forever grim and determined, he is a the archetype of an unhappy man, and usually, as in "Cry Danger," he's out to fix some problem.
This is a Dick Powell movie all the way, and a really good one. There are some great secondary characters, especially the mob leader William Conrad and a suspicious and wise-cracking Marine sidekick played by Richard Erdman. And the plot is good, if twisting slightly and improbable at times. It's also a somewhat cheaply made affair, with a car crash that won't convince a child, and some sets that show their seams. But hey, who cares? It barrels along and stern stiff unflappable Powell (his name is Rocky Mulloy in the movie) won't be stopped, even by love, even by duplicity. And certainly not by cops who should have arrested him several times for his liberties while on parole.
This is director Robert Parrish's first film, and he didn't really direct much later of note except, in 1966, a couple scenes in "Casino Royale." Between the two he did a bunch of so-so westerns. William Conrad, who is thirty at the time of filming here, went on to be television's "Cannon" and "Jake and the Fat Man," but he appeared in a bunch of these B-list noirs and is good every time. The leading woman is a simple type, and good enough at it, but her most memorable role is in "Spiral Staircase," a couple years earlier (definitely see that one). She, too, like half of Hollywood, drifted to t.v. by 1960.
Powell's career is interesting, and his last big role before moving to television himself was in "The Bad and the Beautiful," just a year later. He is never quite a distinctive leading man, and I'm guessing he thought of this as just bread and butter work, but he gives it his usual steely best, and holds the movie together. The other leading character has to be 1950 L.A., without the glamour. Every scene is gritty and real, night and day, and it's yet another sign of end of the studio system and the rise of t.v., with all the location shooting.
A fast, fun one, well filmed.
Humphrey Bogart smiles. Robert Mitchum smiles. Lots of tough film noir types also show a grin or manage a laugh. But not Dick Powell. Forever grim and determined, he is a the archetype of an unhappy man, and usually, as in "Cry Danger," he's out to fix some problem.
This is a Dick Powell movie all the way, and a really good one. There are some great secondary characters, especially the mob leader William Conrad and a suspicious and wise-cracking Marine sidekick played by Richard Erdman. And the plot is good, if twisting slightly and improbable at times. It's also a somewhat cheaply made affair, with a car crash that won't convince a child, and some sets that show their seams. But hey, who cares? It barrels along and stern stiff unflappable Powell (his name is Rocky Mulloy in the movie) won't be stopped, even by love, even by duplicity. And certainly not by cops who should have arrested him several times for his liberties while on parole.
This is director Robert Parrish's first film, and he didn't really direct much later of note except, in 1966, a couple scenes in "Casino Royale." Between the two he did a bunch of so-so westerns. William Conrad, who is thirty at the time of filming here, went on to be television's "Cannon" and "Jake and the Fat Man," but he appeared in a bunch of these B-list noirs and is good every time. The leading woman is a simple type, and good enough at it, but her most memorable role is in "Spiral Staircase," a couple years earlier (definitely see that one). She, too, like half of Hollywood, drifted to t.v. by 1960.
Powell's career is interesting, and his last big role before moving to television himself was in "The Bad and the Beautiful," just a year later. He is never quite a distinctive leading man, and I'm guessing he thought of this as just bread and butter work, but he gives it his usual steely best, and holds the movie together. The other leading character has to be 1950 L.A., without the glamour. Every scene is gritty and real, night and day, and it's yet another sign of end of the studio system and the rise of t.v., with all the location shooting.
A fast, fun one, well filmed.