Woman on the Run (1950)

Woman_on_the_RunB-films have little time to waste and this one jumps right into the action. In a matter of moments, a man is shot, another man has killed him and a third witness gets away into the night. Although Frank Johnson (Ross Elliot) is rounded up by the police to be a witness he gives them the slip for an undisclosed reason and they must spend every waking hour trying to track him down.

What’s important to this particular story is that he left behind his wife Eleanor (Ann Sheridan) to be questioned by the police and they are hurting for a break. They need answers so they slam her with all sorts of inquiries.

She’s not all that cooperative though and the reasons are rather hard to discern. Is it belligerence, fear, or sheer apathy to the entire ordeal? Because you see, Ms. Johnson for some time had been drifting apart from her husband an accomplished painter who nevertheless put little stock in his own skill.

And that’s where the film’s two themes begin to intertwine.  The police surmise that the runaway man is fleeing a killer, but for his wife the implications are twofold. In her eyes, he’s just as likely running away from a marriage he couldn’t cope with. That is her dilemma which she masks both pointedly and inadvertently with various diversions to keep the police reeling.  After all, she’s not particularly keen on helping them or sticking around for that matter.

Whereas in earlier roles Ann Sheridan was always slightly overshadowed by other performers, most notable of those being the always electrifying James Cagney, here she gives perhaps her finest performance and she’s at the center of it all. That’s not to say she isn’t surrounded by a stellar supporting gallery.

Dennis O’Keefe, remembered as a gritty leading man in pictures such as T-Men and Raw Deal, showcases a new playful side as a journalist trying to nab a scoop on the runaway witness and at the same time making eyes at the man’s bride. But he manages to give the part some life that goes far beyond a one-dimensional characterization. There’s more to him as we soon find out.

The other important player turns out to be Inspector Ferris (Robert Keith) who as the long arm of the law is looking to find his man before his adversary does. But he’s not about to take flack from anyone and if ever there was a cop who was no-nonsense he fits the bill. His croaking voice always interrogating his subjects in a continuous effort to get his job done. Too bad he wasn’t quite counting on Ann Sheridan.

A relentless climax aboard a roller coaster at a local amusement park precedes Hitchcock’s Strangers on the Train when it comes to making carnival games such a deadly ordeal. And there are hints along the way ratcheting up the tension whether it’s a familiar cigarette lighter, a striking coincidence, or a passing remark that initially goes unnoticed.

The script strikes a strange path at times given to clunky expositional dialogue that feels as trite as can be and then in the very next sequence there’s a bit of patter or a dry quip that makes things all the more interesting. Also, a pair of small supporting roles for Victor Sen Yung and Reiko Sato add another layer of authenticity to the characterization only surpassed by the on location shooting that catches the essence of mid-century San Francisco.

In the end, Woman on the Run turns out to be one of those wonderful treasures that has rather unfairly gotten buried in the dusty attic of film noir. But far from being an antique, it plays fairly well today with an underlying tension running through Sheridan’s performance as she not only reflects on her own dwindling marriage but stresses to discover her husband’s whereabouts in fear of his very well-being.

It’s surprisingly entertaining and you get the sense that if Norman Forster (a fairly prolific actor, director, and screenwriter) were someone other than Norman Forster, this picture might have been scrutinized more closely. As it is, it’s just waiting for more people to dredge it up. How did I get here? If you’re a sucker for film noir and Ann Sheridan there’s no better place to go than Woman on the Run.

3.5/5 Stars

The Lineup (1958)

Thelineupmovieposter6nfIn style if not entirely in execution The Lineup exhibits some similarities to Murder by Contract from the same year. Both films choose to take hit men as their main characters and it becomes a surprisingly intriguing way to look at a crime. Because the killers are a certain brand of sociopath who make film criminals all the more compelling based on not only on the way they carry themselves or the actions they take but the very words that leave their lips.

For the modern viewer, it’s very possible to miss the fact that The Lineup was a Dragnet-like detective show of the 1950s and this film installment carried over some of the same hallmarks from the program.

The police lieutenant is played by a no-nonsense Warner Anderson who utters every word as if he has marbles crammed in his throat. The other man (Emille Meyer) is what you expect from a second fiddle, a bit more flabby, a rounder face, and a funny intonation to his voice. Still, together these two men represent the arm of the law in San Fransisco, only two hardworking men in a vast force of crimefighters.

Don Siegel does well in all facets of the film from the opening mayhem on the streets of San Francisco that set the groundwork for all the rest, guiding the plot through the rhythms of procedures, hits, crime scenes, and casings. The climatic scenes on the Embarcadero pack the type of gratifying wallop you would hope for.

Meanwhile, Stirling Silliphant’s script has an odd cadence to it that’s particularly entrancing. It’s not hardboiled patter and that’s perhaps signified best by the fact that we meet our two main villains mid conversation on an airplane. One lauds the use of proper grammar and diction while the other, an out of town killer only known as Dancer (Eli Wallach) reads a grammar book to improve himself. After all, who’s ever heard a killer who knows their subjunctives?

From one end we follow the police as they look into a few big payloads of heroin that are being shipped in from Asia using unsuspecting tourists. There are no solid leads but they have enough competency to know something is up. They do all the things that they’re supposed to in order to nab the wanted parties. But it’s not that simple.

Because we also see a bit of what’s going on with the other side of the law. Dancer and Julian (Robert Keith) are called in to retrieve the payloads for a shadowy Mr. Big orchestrating everything from the background. And these are two of the most peculiar criminals you’ve ever known.  Dancer’s a bit of a tough guy and he’s almost never caught without his trusty briefcase that carries his silent killer. He’s not about to take any flack from their chatty wheelman (Richard Jaeckel) either.

Except Dancer listens to Julian, an older fellow (obsessed with last words) who seems to serve little purpose except to be Dancer’s constant voice of reason and his coach giving him pep talks and guidance from every location. First, a Seamen’s club near the Bay, then a local residence, and finally an aquarium where they track down their last unsuspecting carrier, a young mother (Mary LaRoache) traveling with her little daughter.

But all great crime pictures must have some kind of twist, a wrench in the plans or an about face and The Lineup likewise begins to tear at the seams. Except it actually begins to mean something because in some ways we’ve built more of a connection with the criminals than the good guys.

With its surprisingly authentic images of San Francisco preserved from the 1950s, you can definitely trace a line between this film and Dirty Harry another Siegel picture that made extensive use of SF’s iconic terrain as well. Silliphant also graduated to several big crime films most notably In the Heat of the Night. But there should always be a place for smaller gems like this because they must differentiate themselves from the pack in the ways they draw up their characters and how they choose to rehash themes that have existed all throughout the tradition of gangster flicks and film-noir. That is the only chance they have to be remembered. The Lineup certainly stands out amid the fray.

3.5/5 Stars