Release Date: October 12th, 1950 (Boston premiere)
Directed by: Norman Foster
Written by: Alan Campbell, Norman Foster, Ross Hunter (dialogue)
Based on: Man On the Run by Sylvia Tate
Music by: Arthur Lange, Emil Newman
Cast: Ann Sheridan, Dennis O’Keefe, Robert Keith
Fidelity Pictures Corporation, Universal Pictures, 77 Minutes
“Frank’s condition isn’t any worse than tons of men that strain their hearts running in track meets in the misguided belief that they were building up their bodies.” – Dr. Arthur Hohler
I didn’t know much about this movie until it was featured on TCM’s Noir Alley. But apparently the Film Noir Foundation restored it almost two decades ago and then about ten years ago, that print was lost in a fire. Then, more recently, a negative print of the film was found in London and it was restored for a second time.
It’s a pretty unique and energetic film-noir that really is carried by the charm of Ann Sheridan. But in addition to that, she’s paired up well with both Dennis O’Keefe and Robert Keith. She is usually playing off of one actor or the other from scene to scene but man, the dialogue exchanges between Sheridan and both of the top billed men is really entertaining stuff.
Plus, the writing is witty and clever and Sheridan’s charisma is only enhanced by the strong dialogue and unique situations she finds herself in.
Really, all parties involved are top notch in this movie and while I can’t quite call this a film-noir masterpiece, I think this is better than several of the films that are looked at in much higher regard than this nearly lost gem.
Originally, it was supposed to be filmed in New Orleans but due to the movie being produced by a new, upstart studio and the budgetary concerns that come with that, it was shot in San Francisco. But this actually benefits the film, as it really captures noir era San Francisco in a beautiful way. Although, with so many film-noirs being filmed in San Francisco, a New Orleans setting could have made this a bit more unique.
Additionally, this picture feels like a moving painting. Since it spends a good amount of time looking at art, within the film, it’s kind of neat to see the motion picture have the same sort of majestic allure as a beautiful painting. The lighting, cinematography and shot framing are incredible, especially in the big finale at the amusement park.
That being said, the amusement park stuff is stupendous. I love the sequence with Sheridan on the roller coaster even if it looks hokey and dated almost 70 years later.
In fact, as much as I like this film, it’s the big finale that really takes things to another level and cements this as a real worthwhile and enjoyable classic film-noir.
Pairs well with: Too Late for Tears, Please Murder Me!, The Man Who Cheated HImself and Impact.