An effort like The Web is precisely why many people would “die” for film-noir. Unless I am simply speaking for myself. But I don’t think so. Personally, I perked up upon reading the name William Bowers in the opening credits as one of the architects of the script because it’s quite easy to imagine some of the film’s choicest flirtatious patter being penned by him. He and his accomplices give our stars something to talk about in what otherwise might seem like idle moments. In fact, if it weren’t for its ultimately sinister outcomes, The Web carries a certain lightness of being through much of its run.
That brings us to our stars who are a fine teaming of talent for a B-grade picture. In fact, they are probably about as good as you could get considering. We have Edmond O’Brien, a personal favorite as a noir hero (The Killers, White Heat, D.O.A, etc.) and then Ella Raines, another often unsung but no less important noir heroine (Phantom Lady) of the 1940s.
Vincent Price is impeccable playing his at times beguiling businessman with that usual mixture of charm and slithering cunning. Between his lankiness and those distinct imperious eyes of his, he’s rarely been better. Our last prominent figure is the coolly perceptive William Bendix who despite his persona, knows far more than he lets on, as a generally competent member of the police force.
One morning a cocksure young lawyer named Bob Regan (O’Brien) goes barging into the offices of Mr. Andrew Colby on the pretense that his client, a man named Emilio Canepa who had his fruit cart upturned by negligent driving and he’s calling for $68.72 in damages. The businessman amusedly agrees to it, after all, it’s only a small trifle. But along the way, Regan tries to pick up the man’s loyal secretary Noel (Raines) as well as unwitingly piquing Colby’s interest. He could use someone with guts.
It’s such a dandy and a rather outrageous sequence that we almost forget the actual opening shot showing an elderly fellow being released from prison after a five-year stint. The only person there to greet him is his daughter. We gather he has a bone to pick and that is important for all that is inevitable in the near future.
For now, it’s all Edmond O’Brien. He notes that they have a snug little setup going on within Colby’s closest inner circle. They seem real buddy-buddy in all facets of their affairs. However, straight away Regan joins the operation when $5,000 is waved in front of him to act as a bit of an unofficial bodyguard and it comes with a gun permit he’s able to finagle out of his old friend at the Police precinct.
Of course, he doesn’t realize that just the following day he will be unloading the pistol on someone and killing a man no less — the same man who was just released for prison with the charge of embezzlement. But it was all done with clear intention as bitter Mr. Kroner was going to kill Mr. Colby so in that regard Regan has little to worry about. And yet he can’t help but start to get ideas because between the police and nighttime visitors he’s given a lot to chew on.
The film’s script has its share of veiled double talk both sensual and then increasingly threatening as it pertains to the curious events at hand. Because what reveals itself is a deliciously twisted reality that calls for the reevaluation of what we know to be true and who we trust as an audience. The rational and yes, even the believable might very well fly out of the window but what a noir like this gives us is something arguably more satisfying in terms of impending doom.
Where something like a net — a web of destruction — begins to descend upon and close in around our heroes. It’s been cleverly orchestrated with the clearest of intent clearing up all the loose ends and framing them handily.
The police nab them easily in this case, involving multiple murders, a whole lot of money, and two tickets to Mexico. The question is who will gain from such a resolution and since that question is quite simple to answer, the better one yet is how might they possibly catch the culprit?
I’m not too proud to admit thoroughly enjoying The Web because it embodies everything that the dark genre is promoted as being and you leave the picture satiated after being caught up in something supremely sinister. It was never high art nor did it claim to be but that’s all part of the immense allure. O’Brien, Raines, Price, and Bendix might as well all be character archetypes. The parts they play do the picture a distinct service.