What a fascinating little film, on a variety of levels. There is an expressionism that would have made Elmer Rice proud as well as a distinctly European approach. It feels as if it could be either a German product or from much earlier in the '30s when Hollywood was still in an experimental phase of self-discovery. There is nothing quite like it out there.
This is pure Fritz Lang, coupled perfectly with Charles Lang Jr.'s photography, with Kurt Weill's music jumping in abruptly to make you catch your breath. The blend of comedy and drama is smooth.
The plot line is familiar to this cast. A businessman makes a point of hiring parolees at his department store, where some are clearly having trouble adjusting. Joe has abided by the strict demands of his parole and his time is at last up, freeing him to marry Helen. But she has never told him that she too is an ex-con and still has several months of parole to serve. She has to tell lie upon lie to cover up the secret. Meanwhile, his old gang is nipping at him to join up again in another heist scheme.
Not for the last time, the film exposes the difficulties of staying straight, difficulties arising both from the system itself as well as peer pressure.
Some plot points are similar to Pick-up, a George Raft-Sylvia Sidney film of a few years earlier, but this story is much stronger. At this time Raft was in the middle of a five-year era when he was at his best - relaxed and in character, willingly joining in the sometimes unusual proceedings. Sidney is beautifully sympathetic as a criminal, always hoping two wrongs will make a right. What a one-of-a-kind screen presence she was. Her work with Raft always seems like two pals getting together again. That makes the wedding night sequence and the around-the-world honeymoon all the more entertaining.
The rest of the cast, from wonderful Harry Carey to cynical Roscoe Karns, turns in strong, imaginative performances. As odd as some moments might be, everyone is clearly "in on" Lang's vision.
There is a great scene of the gang reminiscing about their prison days that displays that vision full force. This is what the film is all about.
This is pure Fritz Lang, coupled perfectly with Charles Lang Jr.'s photography, with Kurt Weill's music jumping in abruptly to make you catch your breath. The blend of comedy and drama is smooth.
The plot line is familiar to this cast. A businessman makes a point of hiring parolees at his department store, where some are clearly having trouble adjusting. Joe has abided by the strict demands of his parole and his time is at last up, freeing him to marry Helen. But she has never told him that she too is an ex-con and still has several months of parole to serve. She has to tell lie upon lie to cover up the secret. Meanwhile, his old gang is nipping at him to join up again in another heist scheme.
Not for the last time, the film exposes the difficulties of staying straight, difficulties arising both from the system itself as well as peer pressure.
Some plot points are similar to Pick-up, a George Raft-Sylvia Sidney film of a few years earlier, but this story is much stronger. At this time Raft was in the middle of a five-year era when he was at his best - relaxed and in character, willingly joining in the sometimes unusual proceedings. Sidney is beautifully sympathetic as a criminal, always hoping two wrongs will make a right. What a one-of-a-kind screen presence she was. Her work with Raft always seems like two pals getting together again. That makes the wedding night sequence and the around-the-world honeymoon all the more entertaining.
The rest of the cast, from wonderful Harry Carey to cynical Roscoe Karns, turns in strong, imaginative performances. As odd as some moments might be, everyone is clearly "in on" Lang's vision.
There is a great scene of the gang reminiscing about their prison days that displays that vision full force. This is what the film is all about.