The opening chase through the streets and rail yards of LA is dynamically filmed as Garfield flees after killing a cop in a holdup. The pool scene, where he hides out, may not make much sense (why risk the money being stolen from the locker), but is an unusual and eye-catching venue. However, once the movie sets up shop in the Winters family apartment, the dynamism subsides and I'm reminded of one of those Playhouse 90 melodramas of the time. They were interesting stage plays for TV, but too static for a screenplay. And despite director Berry's efforts to build tension from the resulting hostage situation, the film never regains the earlier momentum.
What the movie does have is the great John Garfield in unfortunately his last role. Frankly he doesn't look well, but still manages a dynamic performance, without which the film would totally collapse. Snarling one moment and cooing the next, he's still believable as a cynical gunman torn between softer fellow feelings and a desperate sense of survival. The suspense comes from not knowing which side will ultimately dominate. Unfortunately, Shelley Winters plays the hapless girl he picks up at the pool. She's supposed to be emotionally vulnerable, which she is at first, but Winters has a hard time being vulnerable without being pathetic ( for example, "A Place in the Sun", 1951). Thus she soon becomes more annoying than sympathetic. The climax is nicely ironical, yet fails to help move the proceedings beyond the programmer stage. Too bad that Garfield didn't clock out on the wings of a more memorable movie.
What the movie does have is the great John Garfield in unfortunately his last role. Frankly he doesn't look well, but still manages a dynamic performance, without which the film would totally collapse. Snarling one moment and cooing the next, he's still believable as a cynical gunman torn between softer fellow feelings and a desperate sense of survival. The suspense comes from not knowing which side will ultimately dominate. Unfortunately, Shelley Winters plays the hapless girl he picks up at the pool. She's supposed to be emotionally vulnerable, which she is at first, but Winters has a hard time being vulnerable without being pathetic ( for example, "A Place in the Sun", 1951). Thus she soon becomes more annoying than sympathetic. The climax is nicely ironical, yet fails to help move the proceedings beyond the programmer stage. Too bad that Garfield didn't clock out on the wings of a more memorable movie.