A high point in the career of Victor Mature – he is very good, as is the film: it's got location shooting (New York, gaols), expert handling (from Henry Hathaway), strong script (Ben Hecht and Charles Lederer), and a gripping story that comes across as very believable. Mature is a stand up crim who is busted during a robbery but refuses to turn stool pigeon, despite the pressure of the DA (Brian Donlevy).
Years before On the Waterfront dissed the concept of the “non informer” this has Mature suffer from his decision to keep his mouth shut – his wife has no money and kills herself, his kids wind up in an orphanage. So he turns stoolie – mind you, that doesn’t work out too well either: he fingers a killer (Richard Widmark) but has to give testimony but they stuff the case and the killer gets out – then the cops lose trace of said killer. So he has to rescue himself.
Two things struck me watching this years on – it’s odd how the filmmakers leave out a scene where Widmark sees Mature betray him. Maybe they couldn’t afford a courthouse – but they could have shown it another way. Second, Mature’s plan at the end is really silly: walk out on a street and get shot several times by Widmark. It's awfully risky. Surely there was another way?
So the second half of this was less good (and a little confusing). But Widmark is terrific, with that giggle and throwing Mildred Natwick in a wheelchair down stairs; Mature is good, all torn nobility; Colleen Grey is wonderful as the girl with a crush for him - their scenes together have a real intensity and kick; Brian Donlevy is too nice really as the DA (Karl Malden's pushy cop is better); the ending has some memorable spooky scenes of Mature alone in an empty house waiting for the baddies to come.
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