This is excellent example of film noir. Right from the opening holdup gone bad to the climax cinematographer Bert Glennon baths the screen in shadow. Sterling Hayden is note perfect as the uncompromising hard-headed cop with no use for any con, ev... (read more) This is excellent example of film noir. Right from the opening holdup gone bad to the climax cinematographer Bert Glennon baths the screen in shadow. Sterling Hayden is note perfect as the uncompromising hard-headed cop with no use for any con, even if the guy claims to have gone straight. Director Andre De Toth shots Hayden from a low angle so he dominates the frame and those around him. The film utilizes many actual locations so it also serves as a time caplse of a Los Angeles long gone.

The story is a noir staple (ex-con trying to go straight gets pulled back into crime) and de Toth doesn't really pack any surprises here, but it's fun to watch. I don't think I've ever come across a noir that I really hated. Interesting to see Tim Ca... (read more) The story is a noir staple (ex-con trying to go straight gets pulled back into crime) and de Toth doesn't really pack any surprises here, but it's fun to watch. I don't think I've ever come across a noir that I really hated. Interesting to see Tim Carey (in a very small but memorable role) and Sterling Hayden in a film noir together two years before The Killing. Also a young Charles Bronson.

The best part of this film is the Glendale-LA locations and the great black and white cinematography. De Toth supposedly shot this in 15 days and it looks great. Unfortunately the script looks like it was written in 15 minutes. Sterling Hayden plays ... (read more) The best part of this film is the Glendale-LA locations and the great black and white cinematography. De Toth supposedly shot this in 15 days and it looks great. Unfortunately the script looks like it was written in 15 minutes. Sterling Hayden plays the tough cop in this, despite the studio's demand for Bogart. De Toth was right to stay with Hayden, though I think he's usually at his best as a slightly psycho bad guy. This would have come right in the middle of Bogart's bow-tie wearing days and the part just wouldn't have fit. Bronson is mostly forgettable, while Timothy Carey makes a memorable impression as a slightly crazed crook, while Phyllis Kirk is lovely enough to make us understand why Steve Lacey decided to go straight!

A good crime noir directed by Andre de Toth starring Sterling Hayden as a scowling police detective pursuing cop killers in L.A. In an early role, Charles Bronson also appears as one of the ex-cons (credited as Charles Buchinsky). Gritty crime drama ... (read more) A good crime noir directed by Andre de Toth starring Sterling Hayden as a scowling police detective pursuing cop killers in L.A. In an early role, Charles Bronson also appears as one of the ex-cons (credited as Charles Buchinsky). Gritty crime drama with a great urban atmosphere and good suspense.

Ex-con Steve Lacey (Gene Nelson) is caught between his old and recently escaped cell-mates Doc Penny and Ben Hastings (Ted de Corsia and Charles Buchinsky aka Bronson) who try and strongarm him into a bank job, and the cops, led by tough-as-nails Dt.... (read more) Ex-con Steve Lacey (Gene Nelson) is caught between his old and recently escaped cell-mates Doc Penny and Ben Hastings (Ted de Corsia and Charles Buchinsky aka Bronson) who try and strongarm him into a bank job, and the cops, led by tough-as-nails Dt. Lt. Sims (an always great Sterling Hayden), who are hot on the trail of the escapees.
This has got to be one of the best film noir pictures I have ever seen and unfortunately is little known. Every thing about this film is right on the money; from the great story and dialogue by Crane Wilbur (working from the story Criminal's Mark by John and Ward Hawkins); to the tough and unflinching violence that explodes and ends before the audience can catch it's breath; to the lean and efficient directorial style of brilliant B filmmaker Andre de Toth (House of Wax, The Stranger Wore a Gun, Day of the Outlaw) who eschewed the studio backlot for actual location footage on the streets, diners, and seedy back alleys of 1950's Los Angeles (and managed to shoot the picture in a scant fourteen days); to the outstanding performances by the entire cast, from the featured players right down to the rough, rugged and worn faces (the best this side of a Sergio Leone film) of the background talent (look for celebrated character actors Dub Taylor and Hank Worden in bit parts).
And that is what makes this picture really special. The honesty and reality of these characters. These actors don't just give performances - they fully inhabit their roles thus giving what could have been a cheap, throw-away story a true sense of anxious and terse reality.