As far as Edward G. Robinson flicks go, this one isn't too bad. It's clear that the actor, freelancing at this point of his career, and MGM the studio behind the production, were eager to capitalize on the types of crime films he had done earlier in the decade at Warner Brothers. In some ways it's an uneven effort, because they are trying to balance the grit of a Warners picture with the gloss of an MGM picture.
At the beginning of the film we learn that Robinson is a family man with a secret. He was a fugitive from justice years ago who had changed his name, married a good woman (Ruth Hussey) and had a child (Bobs Watson).
During the last nine years, he has established a successful business putting out oil fires with his partner (Guinn Williams). He has become rather prosperous and lives in a fine home surrounded by a white picket fence in a fine community- probably Carvel U. S. A. Where the Hardys live just a few doors down. In short, he has a lot to lose if his secret were ever to come out. And it definitely does.
A shady character from his past (Gene Lockhart) shows up at his home one day looking for a handout. But this sleaze bucket does not just want a sandwich and a few bucks. His greedy black heart wants it all- money, Robinson's business, ownership of a profitable oil well, and respect from the local townsfolk.
Of course Robinson has no intention of giving Lockhart what he wants and tries to make some sort of deal to get rid of him. But Lockhart has carefully considered every angle before arriving on Robinson's doorstep, and he is able to outfox him. Lockhart goes from threatening exposure, to outright blackmail, to totally destroying Robinson's life in a few days.
There are some interesting dramatic scenes that occur as a result of what happens. Especially the part where the police show up to arrest Robinson, since they now know his true identity and his past criminal record. Robinson realizes he's been tricked by Lockhart, but he cannot deny that he never finished a prison sentence (for a crime he didn't commit, naturally)...and that he must own up to things like a man.
One of the film's more poignant moments involves him saying goodbye to his young son. The boy is told that pop is going way for awhile on business, not that pop is going back to finish out a prison sentence. We're supposed to feel sorry for Robinson, and for his family- which we do. And we are also supposed to feel angry, like he is, that a miscarriage of justice occurred and Lockhart shouldn't have the upper hand.
Soon Robinson is back in a striped uniform, having been put to work on a chain gang. The middle portion of the film shows him trying to adjust, and his being somewhat despondent at how his life has taken a U-turn. When he receives a visit from his old pal Williams, he learns what Lockhart has been doing with their business and is also told that his wife had to sell her nice home and move to a smaller place on the wrong side of the tracks.
This sets up the dramatic last act. Robinson manages to escape from the chain gang and heads home.
The big finale has him confronting Lockhart, this time on the edge of an oilfield where a fire is burning out of control. The explosions caused by the blaze mirror the inner explosions that are going on inside Robinson. His turmoil has given way to rage, and he doesn't hold back.
While the script goes a bit over the top, Robinson and Lockhart both turn in fine performances here. We believe they are formidable adversaries, and it is very satisfying when Lockhart finally confesses the truth, that he is the one who should have gone to prison, not Robinson.
At the beginning of the film we learn that Robinson is a family man with a secret. He was a fugitive from justice years ago who had changed his name, married a good woman (Ruth Hussey) and had a child (Bobs Watson).
During the last nine years, he has established a successful business putting out oil fires with his partner (Guinn Williams). He has become rather prosperous and lives in a fine home surrounded by a white picket fence in a fine community- probably Carvel U. S. A. Where the Hardys live just a few doors down. In short, he has a lot to lose if his secret were ever to come out. And it definitely does.
A shady character from his past (Gene Lockhart) shows up at his home one day looking for a handout. But this sleaze bucket does not just want a sandwich and a few bucks. His greedy black heart wants it all- money, Robinson's business, ownership of a profitable oil well, and respect from the local townsfolk.
Of course Robinson has no intention of giving Lockhart what he wants and tries to make some sort of deal to get rid of him. But Lockhart has carefully considered every angle before arriving on Robinson's doorstep, and he is able to outfox him. Lockhart goes from threatening exposure, to outright blackmail, to totally destroying Robinson's life in a few days.
There are some interesting dramatic scenes that occur as a result of what happens. Especially the part where the police show up to arrest Robinson, since they now know his true identity and his past criminal record. Robinson realizes he's been tricked by Lockhart, but he cannot deny that he never finished a prison sentence (for a crime he didn't commit, naturally)...and that he must own up to things like a man.
One of the film's more poignant moments involves him saying goodbye to his young son. The boy is told that pop is going way for awhile on business, not that pop is going back to finish out a prison sentence. We're supposed to feel sorry for Robinson, and for his family- which we do. And we are also supposed to feel angry, like he is, that a miscarriage of justice occurred and Lockhart shouldn't have the upper hand.
Soon Robinson is back in a striped uniform, having been put to work on a chain gang. The middle portion of the film shows him trying to adjust, and his being somewhat despondent at how his life has taken a U-turn. When he receives a visit from his old pal Williams, he learns what Lockhart has been doing with their business and is also told that his wife had to sell her nice home and move to a smaller place on the wrong side of the tracks.
This sets up the dramatic last act. Robinson manages to escape from the chain gang and heads home.
The big finale has him confronting Lockhart, this time on the edge of an oilfield where a fire is burning out of control. The explosions caused by the blaze mirror the inner explosions that are going on inside Robinson. His turmoil has given way to rage, and he doesn't hold back.
While the script goes a bit over the top, Robinson and Lockhart both turn in fine performances here. We believe they are formidable adversaries, and it is very satisfying when Lockhart finally confesses the truth, that he is the one who should have gone to prison, not Robinson.