Discussing with my dad about movies we've recently seen, he mentioned about importing a DVD of a Film Noir starring Tyrone Power. Finding Power to be marvelous in Nightmare Alley (1947-also reviewed) I got set with my dad to meet Apollo.
View on the film:
Made at a time when he asked the studio head for more complex roles that did not just lean on his good looks, Tyrone Power gives an excellent performance as Bob Cain, whose agitated body language is used by Power to express Bob's frustration at his dad being behind bars, leaving his son as a Film Noir loner, which Power wraps in simmering rage, as Bob finds himself pulled into the underworld.
Left with with no job options but the underworld due to how notorious he has made the family name, Edward Arnold gives a wonderful turn as Bob's dad, thanks to Arnold mixing parental warmth with a hard-nose Film Noir eye for getting deeply involved in crime.
Locking the father in a actual cell and the son behind a mental one,13 Rue Madeleine (1947-also reviewed) director Henry Hathaway & cinematographer Arthur C. Miller bring a true grit to proceedings with the shadow of prison bars running across the screen surrounding Bob, who tries to smash them down with rough and tumble fights, with Hathaway landing on harsh close-ups to the blunt-force strikes Bob delivers at his workplace.
Entering the underworld like father like son, the screenplay by Philip Dunne, Rowland Brown, Samuel G. Engel, Hal Long and Curtis Kenyon make the family bond with cracking dialogue that burns with a mix of sardonic humor and raw Film Noir pessimism, via the family drama between the duo feeding into the Cain's each becoming outcast loners, whose only job offers in life, now have the shadows of prison bars hanging over them.
View on the film:
Made at a time when he asked the studio head for more complex roles that did not just lean on his good looks, Tyrone Power gives an excellent performance as Bob Cain, whose agitated body language is used by Power to express Bob's frustration at his dad being behind bars, leaving his son as a Film Noir loner, which Power wraps in simmering rage, as Bob finds himself pulled into the underworld.
Left with with no job options but the underworld due to how notorious he has made the family name, Edward Arnold gives a wonderful turn as Bob's dad, thanks to Arnold mixing parental warmth with a hard-nose Film Noir eye for getting deeply involved in crime.
Locking the father in a actual cell and the son behind a mental one,13 Rue Madeleine (1947-also reviewed) director Henry Hathaway & cinematographer Arthur C. Miller bring a true grit to proceedings with the shadow of prison bars running across the screen surrounding Bob, who tries to smash them down with rough and tumble fights, with Hathaway landing on harsh close-ups to the blunt-force strikes Bob delivers at his workplace.
Entering the underworld like father like son, the screenplay by Philip Dunne, Rowland Brown, Samuel G. Engel, Hal Long and Curtis Kenyon make the family bond with cracking dialogue that burns with a mix of sardonic humor and raw Film Noir pessimism, via the family drama between the duo feeding into the Cain's each becoming outcast loners, whose only job offers in life, now have the shadows of prison bars hanging over them.