With an opening sequence bearing a striking resemblance to Bogart's 'Dark Passage', convicted murderer, Kieron Moore escapes prison aboard a truck in a determined bid to prove his innocence. From this point, similarities between the two movies rapidly blur. There is no plastic surgery and Paul Henreid is a far less glamorous confidante than Lauren Bacall! More crucially, 'Mantrap' is a significantly inferior piece of work.
News that Moore is on the run, seriously ruffles the feathers of ex-wife Lois Maxwell, now a successful writer, whilst senior detective, Lloyd Lamble creates an elaborate board game from shunting police cars around the capital in an attempt to snare the convict. Meanwhile, astute lawyer, turned investigator, Henreid has rooted himself at the derelict, bomb site crime scene, where his prolonged patience is rewarded, when Moore finally returns.
Going forward, 'Mantrap' is essentially a talking picture, rather than a moving picture. Just revealing the filling in the sandwich which Henreid offers to the ravenous Moore would have boosted the interest level. The belated chase sequence looks like it was tacked on as an afterthought. The bad guy almost having to be persuaded to make a break for it, whilst everyone's attention is diverted elsewhere.
A second viewing, reveals a few previously unappreciated subtleties and nuances, at least partially lifting the movie out of the miasma of mediocrity, but it's fine margins. For real punch and potency, delivered with panache and pizzazz, check out the aforementioned 'Dark Passage'.
News that Moore is on the run, seriously ruffles the feathers of ex-wife Lois Maxwell, now a successful writer, whilst senior detective, Lloyd Lamble creates an elaborate board game from shunting police cars around the capital in an attempt to snare the convict. Meanwhile, astute lawyer, turned investigator, Henreid has rooted himself at the derelict, bomb site crime scene, where his prolonged patience is rewarded, when Moore finally returns.
Going forward, 'Mantrap' is essentially a talking picture, rather than a moving picture. Just revealing the filling in the sandwich which Henreid offers to the ravenous Moore would have boosted the interest level. The belated chase sequence looks like it was tacked on as an afterthought. The bad guy almost having to be persuaded to make a break for it, whilst everyone's attention is diverted elsewhere.
A second viewing, reveals a few previously unappreciated subtleties and nuances, at least partially lifting the movie out of the miasma of mediocrity, but it's fine margins. For real punch and potency, delivered with panache and pizzazz, check out the aforementioned 'Dark Passage'.