Superbly-handled noir, from one of its absolute masters; despite their reputation for wholesomeness, MGM were really into the groove during this time (one of the genre's finest and most influential offerings, John Huston's THE ASPHALT JUNGLE came from them the same year). Apart from reuniting the hounded young couple from Nicholas Ray's THEY LIVE BY NIGHT (1948), Farley Granger and Cathy O'Donnell, the film also follows the 'story of a city' format laid down by Jules Dassin's THE NAKED CITY (1948).
The narrative (written by genre expert Sydney Boehm) may be implausible at face value, but the snowballing of events with the perplexed Granger at their centre carries a genuine social resonance (though, thankfully, straying from sentimentality for the most part) and an undeniable charge of excitement (particularly towards the end, when the bodies start piling up and the police are closing in). O'Donnell's role doesn't allow her much range though her instinctive appeal in the presence of the police for Granger to run away (with the camera suddenly zooming-in to her face) is beautifully done. Paul Kelly is the compassionate police captain on the case who also narrates the tale; one of his assistants is noir regular Charles McGraw.
The rogues' gallery includes the thuggish James Craig (it was surprising to find the hero of THE DEVIL AND DANIEL WEBSTER [1941] on the opposite side of the tracks), a corrupt lawyer, another lackey who conveniently uses his cab for kidnapping/body-disposal purposes and, of course, a couple of dames (Jean Hagen is a particular stand-out here: she was also in THE ASPHALT JUNGLE, as a good girl this time). As I said, the climactic car chase along New York streets (shot on location) is terrific though the ensuing happy ending feels tagged-on (MGM may have ultimately vetoed a downbeat finale) - if still leading to a memorable final shot.
The narrative (written by genre expert Sydney Boehm) may be implausible at face value, but the snowballing of events with the perplexed Granger at their centre carries a genuine social resonance (though, thankfully, straying from sentimentality for the most part) and an undeniable charge of excitement (particularly towards the end, when the bodies start piling up and the police are closing in). O'Donnell's role doesn't allow her much range though her instinctive appeal in the presence of the police for Granger to run away (with the camera suddenly zooming-in to her face) is beautifully done. Paul Kelly is the compassionate police captain on the case who also narrates the tale; one of his assistants is noir regular Charles McGraw.
The rogues' gallery includes the thuggish James Craig (it was surprising to find the hero of THE DEVIL AND DANIEL WEBSTER [1941] on the opposite side of the tracks), a corrupt lawyer, another lackey who conveniently uses his cab for kidnapping/body-disposal purposes and, of course, a couple of dames (Jean Hagen is a particular stand-out here: she was also in THE ASPHALT JUNGLE, as a good girl this time). As I said, the climactic car chase along New York streets (shot on location) is terrific though the ensuing happy ending feels tagged-on (MGM may have ultimately vetoed a downbeat finale) - if still leading to a memorable final shot.