Like many a film noir, this one keeps a brisk pace - and more than that, it launches into the active narrative with a sharp, quick punch. Hit men aren't exactly saints, but between Ted Berkman and Raphael Blau's adapted screenplay that paints protagonist Kyle as relatively quiet and unassuming, and the like lead performance of fresh-faced Robert Ivers, it's easy to sympathize with this one as he's forced into a hard position. The storytelling and film-making are direct and straightforward in advancing the narrative, though there's plenty of cleverness throughout in every little turn that makes Kyle rethink his path forward. Roping starry-eyed, good-natured Glory into his endeavor is more than just another turn for Kyle, but thankfully the picture declines the immediate cliches that follow from the introduction of a supporting female character. On the contrary, her presence allows the story to broaden a bit, and the nuance in Georgann Johnson's acting is a fine complement to the steady force of personality Ivers illustrates.
In all the technical aspects, including James Cagney's direction, and rounding details such as costume design, 'Short cut to hell' is well executed, if perhaps unremarkable. This is the type of feature that relies much more on the strength of its cast, and even more than that, of the tale it has to impart. One could argue that there are a couple instances in which the screenplay makes a little shortcut of its own by way of movie magic to keep the plot moving, but this is forgivable in light of how solid it is in general. The narrative feels relatively light and brusque in the broad strokes, but there's sufficient content between beginning and end to make it satisfactorily complete, and more exciting and engaging. And with that, the scene writing is wonderfully vivid, snappy and wasting no time. From one moment to the next there's enough variety in how the story is put together that it never lags or dulls, and one's attention is held fast.
One can generally depend on film noir as a genre to be enjoyable, though by no means are all titles equal, and there are some tropes and conventions that often define them. 'Short cut to hell,' despite the dark and grabbing title, is more meaningfully absorbing than many of its brethren. There is some real heart here, and impactful emotional beats. The interactions between Kyle and Glory progress in a manner that feels slow and natural, not contrived or forced, and as a result there's a humanizing element to the narrative that far exceeded my expectations. Moreover, women in supporting parts are often relegated to all but a wilting flower of an archetype, but Glory is written with complexity that allows Johnson to hold her own alongside star Ivers. At the same time, there's suspense that to some degree would seem to elevate this picture to not just a film noir, but an outright crime thriller. Obviously much credit belongs to novelist Graham Greene for penning the source material, but again I can only commend screenwriters Berkman and Blau for their fantastic work.
A content warning should be mentioned for an instance of animal cruelty, but it is a moment that actually bears weight in the story. And though I somewhat repeat myself, that's the real key here: nothing goes to waste - there is no excess - and great care and thought went into every facet of the production to bring the story to life. The effort paid off handsomely, in my opinion, because 'Short cut to hell' is readily striking as a feature that's genuinely more well-rounded than a lot of its contemporaries, even as it's cut from the same cloth. This is a really good time, and it leaves an impression. Though not necessarily as well known among countless pictures of the same genre, for my part I give 'Short cut to hell' a hearty recommendation - these 90 minutes are well worth the time it takes to watch, and is a viewing experience I look forward to enjoying again some day.
In all the technical aspects, including James Cagney's direction, and rounding details such as costume design, 'Short cut to hell' is well executed, if perhaps unremarkable. This is the type of feature that relies much more on the strength of its cast, and even more than that, of the tale it has to impart. One could argue that there are a couple instances in which the screenplay makes a little shortcut of its own by way of movie magic to keep the plot moving, but this is forgivable in light of how solid it is in general. The narrative feels relatively light and brusque in the broad strokes, but there's sufficient content between beginning and end to make it satisfactorily complete, and more exciting and engaging. And with that, the scene writing is wonderfully vivid, snappy and wasting no time. From one moment to the next there's enough variety in how the story is put together that it never lags or dulls, and one's attention is held fast.
One can generally depend on film noir as a genre to be enjoyable, though by no means are all titles equal, and there are some tropes and conventions that often define them. 'Short cut to hell,' despite the dark and grabbing title, is more meaningfully absorbing than many of its brethren. There is some real heart here, and impactful emotional beats. The interactions between Kyle and Glory progress in a manner that feels slow and natural, not contrived or forced, and as a result there's a humanizing element to the narrative that far exceeded my expectations. Moreover, women in supporting parts are often relegated to all but a wilting flower of an archetype, but Glory is written with complexity that allows Johnson to hold her own alongside star Ivers. At the same time, there's suspense that to some degree would seem to elevate this picture to not just a film noir, but an outright crime thriller. Obviously much credit belongs to novelist Graham Greene for penning the source material, but again I can only commend screenwriters Berkman and Blau for their fantastic work.
A content warning should be mentioned for an instance of animal cruelty, but it is a moment that actually bears weight in the story. And though I somewhat repeat myself, that's the real key here: nothing goes to waste - there is no excess - and great care and thought went into every facet of the production to bring the story to life. The effort paid off handsomely, in my opinion, because 'Short cut to hell' is readily striking as a feature that's genuinely more well-rounded than a lot of its contemporaries, even as it's cut from the same cloth. This is a really good time, and it leaves an impression. Though not necessarily as well known among countless pictures of the same genre, for my part I give 'Short cut to hell' a hearty recommendation - these 90 minutes are well worth the time it takes to watch, and is a viewing experience I look forward to enjoying again some day.