The Glass Key (1935) User Reviews

THE GLASS KEY (Frank Tuttle, 1935) ***

[Bunuel1976 · 7/10 · 5 February 2011]

Crime novelist Dashiell Hammett is best-known for penning THE THIN MAN and THE MALTESE FALCON and, like the latter's original 1931 film version was completely overshadowed by John Huston's classic 1941 remake, the same fate practically befell another of his filmed works. In fact, the original 1935 version of THE GLASS KEY has been all but impossible to see until recently, while its 1942 remake was easily available on DVD in Europe. Although I do own a copy of the latter, it has been ages since I watched it last and cannot sensibly compare the two versions now; having said that, the credits for the original – director Frank Tuttle (who would later make a star out of Alan Ladd in THIS GUN FOR HIRE and whose next picture, ironically enough, was the aforementioned remake of THE GLASS KEY!), stars George Raft (this obviously made him the first choice for Sam Spade in the remake of FALCON, but he turned it down to Bogie's eternal benefit!), Ray Milland and Ann Sheridan, plus character actors Edward Arnold, Guinn Williams and Irving Bacon – are sufficiently interesting to merit its re-evaluation as a worthy precursor to the noir subgenre.

Raft is influential lawyer Arnold's right-hand man who, carrying on from his own star-making turn in Howard Hawks' SCARFACE (1932), has an eye for his boss' sister; when the former decides to become the ally of the local political candidate (because he too has his heart set on the latter's sister!), everything starts to go wrong for him, especially after turning down the defense of a drunken motorist from a manslaughter charge and when setting his foot down on the nightclub owned by the local underworld kingpin. However, it is the politician's inveterate gambler son Milland who proves to be the catalyst for disaster as, ostensibly pursuing the affections of Arnold's daughter, he is truly after milking the girl out of her funds to satiate the aforementioned criminal with whom he is indebted. This state of affairs naturally pits Arnold and Milland at loggerheads and it is up to the quick-witted Raft to shuffle his boss out of a murder rap when Milland's corpse is found lying in the gutter one night after the latest scuffle with his prospective father-in-law!

At one point in the narrative – in a brutal sequence anticipating the later ones featuring Dick Powell's Philip Marlowe and Ralph Meeker's Mike Hammer in, respectively, Edward Dmytryk's MURDER, MY SWEET (1944) and Robert Aldrich's KISS ME DEADLY (1955) – Raft suffers greatly at the hands of the criminal's chief henchman Williams (effectively cast against type) and, eventually, ends up in hospital where he is nursed by a pre-stardom Sheridan. Yet, despite having also been assaulted by a massive dog, he goes back for more and, ultimately, defeats the thug by turning him against his own employer. The identity of the real murderer is not all that mysterious in itself but the journey to the denouement is an exciting ride and, indeed, it is kickstarted by a spectacular car-crash right in the very opening scene! For what it is worth, the characters of Arnold's mother and card-trick obsessed odd-job man, providing here the requisite elements of sentimentality and comic relief, were dispensed with for the remake in those somber days of WWII.

Raft Fixes It For Arnold

[bkoganbing · 7/10 · 27 November 2010]

This 1935 version of The Glass Key is not often seen, the 1942 film with Alan Ladd, Veronica Lake, and Brian Donlevy is far better known. Still this one has some interesting features, notably for the one and only time in his career George Raft played a Dashiell Hammett hero.

It is one of the legends of Hollywood that George Raft turned down three of the roles that made Humphrey Bogart a legend, High Sierra, The Maltese Falcon, and Casablanca. The middle one of these was taken from the Dashiell Hammett novel and Ed Beaumont is very much like Sam Spade.

They have the same laconic personality, but unlike Spade who is a partner in a detective agency and for hire, George Raft as Beaumont is the personal retainer and fixer for political boss Edward Arnold. And Arnold is heading for some trouble. He's decided to join the 'reform' element in his town headed by Senator Charles Richman and that does not please gangster Robert Gleckler who has had a working relationship with Arnold up to this time. But Arnold who has worked his way up from poverty sees a chance at respectability and the thing that makes him interested is Claire Dodd who is Richman's daughter and who plays along with Arnold's interest in her for her father's sake.

At the same time Richman has a wastrel son in Ray Milland who has added Arnold's daughter Rosalind Keith to his list of conquests. He's needing some money real bad to pay off gambling markers to Gleckler. Later on Milland winds up dead and suspicion falls on Arnold. It's up to Raft to investigate and get him out of the jackpot.

Three big changes from this version of The Glass Key are readily apparent. First in the 1942 version the daughter of Arnold becomes the sister of Brian Donlevy played there by Bonita Granville. Secondly the character of Emma Dunn is here as Arnold's mother, the mother isn't in the 1942 film. Finally a most unfunny comic relief character in this film played by Tammany Young is dropped altogether from the later film. Otherwise if you know what happened in that film the same occurs here with the same ending.

But the leads are the exact same, tightlipped and tough. George Raft and Alan Ladd are just about the same as actors except for hair color. Veronica Lake is a bit more sultry than Claire Dodd, but then again she was more sultry than most of the women ever born on planet earth.

I think Donlevy convinced himself in his version that he was really in love with Veronica Lake. Arnold whose character mouths the words was married before and now that he's a widower is looking for that all important trophy wife this time around.

It's hard to choose between Guinn Williams and William Bendix who played the sadistic Jeff who was the button man for Gleckler. Williams could be brutal in films if he had to, though most of the time he played amiable lunkheads. There's no element of latent repressed homosexuality in Williams's performance as there is with Bendix however.

Although both versions from Paramount of The Glass Key standup well today, it's really a pity that Humphrey Bogart and Lauren Bacall never got to do this story. It would have been perfect for both of them.

The Glass Key: The original 1935 version.

[morrison-dylan-fan · 7/10 · 21 June 2020]

Browsing the boards this site used to have years ago,I spotted melvelvit-1 mention that they were interested in the original version of The Glass Key. Looking years later for a title I could watch with my dad on Father's Day, I was happy to spot a DVD seller list the title, leading to me turning the glass key.

View on the film:

Whilst the conversation scenes are unable to break a stage-bound atmosphere due to static mid-shots, director Frank Tuttle & cinematographer Henry Sharp break out eye-catching Film Noir stylisation as suspicion falls on Beaumont, with Tuttle dusting the streets in low-hanging tracking shots walking with Beaumont down the side-streets, which get dusted up in long panning shots tumbling towards Beaumont's roughed-up state.

Made in the early stages of The Code, Tuttle displays a early eye for some sly getting around the rules moments, via a hard cut at the moment when a dame gets punched, and shadows over the faces of the actors suggesting the most brutal beat downs taking place.

Taking on Dashiell Hammett's novel after Paramount paid $25,000 for the rights in 1930, (the studio first tried in 1931 to do a version with Gary Cooper called Graft) the screenplay by Kathryn Scola,Harry Ruskin and Kubec Glasmon smartly use newspaper clippings falling into the hands of Beaumont to increase the tension from the Film Noir and political friction, caused by Beaumont's friend Madvig's attempt to clean up the town, bringing out enemies from the political stage and the underworld.

Protected by George Raft's hard-nosed punch back at the underworld (possibly the only time Raft turned his back on the underworld!)as Beaumont, Edward Arnold gives the stand out performance as Madvig, whose desire to clean up the town is played with a slippery edge by Arnold as Madvig fights to avoid the hands of thugs,in order to break the glass key.

Great gangster flick

[McGonigle · 20 November 2003]

This early adaptation of Hammett's novel is not as well known as the Alan Ladd version but is very much worth seeing. Different in some ways, eerily similar in some ways, it's usually a little more raw than the later remake (the car crash that opens the film is still jarring today). And as the other reviewer notes, it has all the classic noir elements. Definitely worth seeking out.

Less famous than the Alan Ladd remake

[blanche-2 · 6/10 · 2 January 2022]

Original of the more famous remake starring Alan Ladd, Veronica Lake, and Brian Donlevy in 1942. This 1935 film stars George Raft, Edward Arnold, Joseph Calleia, and William Bendix.

This "Glass Key" is the same Dashiell Hammett story, and much of the script was kept for the 1942 version, plus in the remake, there were scenes added.

The glass key refers to a key that breaks in a lock - Raft as Ed here is warning his boss (Edward Arnold) to watch out for people out to get him. Arnold is Paul Madvig, who controls a political machine and falls in love with the daughter (Claire Dodd) of a wealthy man, Ralph Henry, trying to get the benefit of Madvig's political influence. When Henry's no-good son Taylor (Ray Milland) is killed, Madvig falls under suspicion. Raft works to prove his innocence.

This Glass Key has none of the bite of the 1942 version except when it comes to the violence. You practically cry out in pain when Ed is beaten to a pulp. When Ed gets away, it's by throwing himself out a window - a stunning and exciting scene in both films.

Frankly, I liked the performances in the remake better, particularly Brian Donlevy as Madvig. Interestingly, in this version, there is a 'Ma' Medvig, Donlevy's mother. Raft always had a wonderful warmth when working with mother figures. Ladd's Ed was too busy making time with every female he met. In fact, in the remake, the newspaper publisher's wife is added as someone who makes a pass at Ladd.

Taylor is an early role for Ray Milland.

The ending is different in the original as well - neither ending follows the book which leaves the situation ambiguous.

All in all, both have good points and performances.

Not As Good As The Remake

[januszlvii · 7/10 · 23 October 2021]

Very interesting original version of The Glass Key. The problem is the Alan Ladd remake made seven years later was superior. The two things that were better in the original were Edward Arnold's Paul. Madvig was a lot more intimidating and realistic then the Brian Donleavy version, and the car crash at the beginning. What made the remake better was: 1: The presence of Veronica Lake as Janet Henry. She was a better love interest for Ladd's Ed Beaumont then Rosalind Keith as Simp ( the sister of Paul) was for George Raft's version of Ed. 2: William Bendix version of Jeff was a lot more sinister and intimidating then Gunn Williams ( although they said and did a lot of the same things). 3: The remake was a lot more of an action film and a film noir then the original. 4: Ladd's Ed is more of a hero then Raft's Ed. Especially because he gets beaten up because of the friendship and loyalty he has towards Paul instead of simply being in his employ. Not to mention ( spoilers ahead) the ending where he decides to go away and marry with Janet instead of being part of Paul's World and dating his sister. This is a rare example where the remake is better then the original. Oddly enough another one is another. Dashielle. Hammett story The Maltese Falcon, where the Bogart remake was better then the Ricardo Cortez original. I give it 7/10 stars while the Ladd remake gets 10/10 stars. I.

Brittle Yarn

[richardchatten · 7/10 · 6 December 2019]

Despite the date this first version of the Dashiel Hammett yarn has a distinctly pre-Code feel to it, with spare Germanic settings and devoid of the noirish trimmings that the later remake had in such abundance. In the role later played by William Bendix, Guinn Williams is unusually restrained, along with most of the rest of the cast.

A perfect match of styles

[ROCKY-19 · 9/10 · 26 October 2006]

Stark cinematography, crisp story-telling and quirky humor make this a ground-breaking film, showing later film noir creators the basics.

The classic Dashiell Hammitt story gets a unique treatment. The still, anticipatory mood punctuated with abrupt, staccato dialogue is an inspired match for George Raft, playing perfectly to his strengths. Like Raft the film is stylish, watchful and reticent. He doesn't have to fake a thing. Edward Arnold is at his best as Paul Madvig in the center of the drama.

As for plot, the ne're-do-well son of a senator is found dead in the gutter, and all the "evidence" points to his girlfriend's father, Madvig, a political boss in town. Arch-enemy Shad O'Rory (Robert Gleckler) pulls out all the stops to bring him down while Madvig's right-hand man Ed Beaumont (Raft) goes through hell to prove his innocence.

In one torturous sequence, Raft never speaks a word while being abused (not to mention mocked), and that silence is visually compelling. There is a delicious use of stark shadows throughout. Instead of a bombastic soundtrack we get subtle use of organic sound. A key scene of violence is underscored marvelously by a swinging light fixture and a solo rendering of "Walkin' the Floor" echoing up the stairs.

Pig-eyed Guinn Williams is somehow both comic and brutal as Shad's hired thug. Charles Richman is everything a senator should be. Claire Dodd is the passionate sister of the murder victim, and Rosalind Culli makes a watery Miss Madvig.

It is entertaining to see a very young Ray Milland in the brief role as the murder victim. And then there's Ann Sheridan, memorable in only one scene as one tough nurse.

This does not have elements that became stereotypical in the more fully developed film noir - such as the femme fatale and overt lustiness, which were in the popular Alan Ladd remake of this story. This version does hedge on some violent elements and is a little too simplistic in others, leaving some plot points unclear at first. But the its consistent sense of its own style and sense of reality with the more believable cast let this first version stand on its own.

It's not Pre-Code...but it sure looks like it!

[planktonrules · 8/10 · 21 May 2023]

When the new Production Code came out in July, 1934, Hollywood was forced to clean up its act. Up until this time, although there was the Hays Office, the studios routinely ignored this censors board and films were occasionally shocking...even by today's standards. Nudity, extreme violence, cursing and all sorts of sexual behaviors of all types were in a lot of films...and the Production Code of 1934 was a reaction to all this family-unfriendly material. Sadly, the Code often went too far...and many of the great gangster films of the early 30s were no longer allowed to be shown in theaters without significant cuts. I mention all this because although the Code was in full force, "The Glass Key" managed to have a lot of content which seemed Pre-Code! No, there was no nudity or cursing...but wow, is this a brutal and violent movie. Now I am not complaining...I actually think it helped the story...and managed to be grittier than the more famous 1942 remake with Alan Ladd.

Paul Madvig (Edward Arnold) is a Boss Tweed sort of guy...a powerful man who pulls the strings of various politicians and to get elected, a politician would have to be someone Madvig liked. However, a political enemy is determined to destroy Madvig. The only hope Madvig has is his assistant, Ed Beaumont (George Raft)...and Beaumont is determined to help Madvig even if it means nearly getting beaten to death to do it.

When Beaumont is captured and held prisoner, he's beaten pretty vividly by a lunking sadist (Guinn Williams)...so much so that I am shocked the film was released without significant cuts to these scenes. Additionally, Beaumont later decks a woman. They cut away at the very last second so you don't see it connect, but clearly he knocked a woman out...and again, I am shocked this remained in the film and wasn't cut. But all this add to the grittiness of the film...a film which is very much an example of film noir even though supposedly this genre wasn't created until the 1940s! Well worth seeing and a bit better than it's remake.

George Raft Bounces Back!!

[kidboots · 9/10 · 7 January 2012]

With "The Glass Key" George Raft bounced back in popularity after some of the worst reviews in his career ("The Trumpet Blows", "Limehouse Blues") and I agree with the other reviewers, it is a pretty good movie. It was supposed to be Dashiell Hammett's favourite of the books he had written. The nominal female lead was the delectable Claire Dodd. She could play any role - as long as it was high class - no "dese, dems and dose" for her. She could be the archest "cat" or the perfect secretary when she played Della Street to Warren William's Perry Mason. Unfortunately here she is not playing opposite George Raft, what sparks they could have made. She was in her snooty society girl mode and played Janet Henry, daughter of "above reproach" Senator Henry. She has also turned the head of genial Paul Madvig (Edward Arnold) who is sick of always being called upon to get shady characters out of scrapes - he wants to clean up the town and his act.

His right hand man Ed Beaumont (Raft) is also concerned about Madvig's daughter Opal (insipid Rosalind Culli) who is a bit too friendly with Janet's ne'er do well and obviously cad of a brother Taylor (Ray Milland). When Taylor is found murdered "someone" implicates Madvig, who was known to have disliked him and Ed has an uphill battle trying to convince Paul that he is not the "Mr. Popularity" around town that he thinks he is. He even goads Paul into a fight to find out who that "someone" is. It wouldn't be a George Raft movie without some pretty realistic fight scenes including one with an attack dog and another where Ed gets out of a sticky situation by kicking his protagonist in the shins!!! Roughed up by a vicious thug (Guinn "Big Boy" Williams in the role of his career) who is no match for Ed in the "smarts" department. After another playful going over, Ed has to start a fire in the hideout and then crash through a roof to the safety of a family who promply call an ambulance.

The "someone" is finally found - he is Schloss, brother in law of a driver involved in a nasty car accident who had gone to Paul for help only to be turned away. You do get a feeling who the murderer is but it is all wrapped up very nicely. Unfortunately Raft's leading lady was not vivid Claire Dodd but boring Rosalind Culli. Culli? Keith? Culli-Keith?? What was her name?? In fact the only reason she is now remembered is for the confusion with her name. As Rosalind Culli she was announced to appear in "The Glass Key", during the filming her name was changed to Culli-Keith but when the movie opened, hey presto she was Rosalind Keith!!!

Neglected pioneer noir.

[Mozjoukine · 21 July 2002]

In the unlikely event that the term "film noir" means anything, it must be the meeting of the US detective film and the sinister Germanic look.

The process can be seen well and truly evident in this rarely seen version of the Hammet story. This one has the down beat view of human nature, sinister nocturnal scenes, notably Raft's discovery of Ray Milland's body and the grim shadowed world of thug Williams in his best rôle.

Neglected in favour of the Alan Ladd version which borrows from it - disposing of the stroppy brother with a kick on the shins, the dog attack - this one plays better because it's easier to believe Arnold is running a city and for director Tuttle's use of comedy actors like Irving Bacon, in serious material. Raft as Ned Beaumont, the minder, fits right in here.

Notice the significant difference is the presence of the mother character in the space that the fiancée takes in the later film. The spectacular auto stunt opening gets things moving rapidly too. This one doesn't work up the intensity of the best of the forties thrillers - no erotic smolder and feelings of growing doom but it's still a good viewing that stands with the best crime films of its day.

George Raft's Finest Performance With Early Film Noir Elements

[springfieldrental · 8/10 · 23 May 2023]

Dashiell Hammett's 1931 novel, 'The Glass Key,' has been compared favorably to his earlier 1930 detective thriller, 'The Maltese Falcon." Paramount Pictures, buying the rights to the book as soon as it was hot off the presses, was the first Hollywood studio to bring the yarn to the screen in June 1935's "The Glass Key." George Raft plays the lead character Ed Beaumont, an assistant to crime boss and politician Paul Madvig (Edward Arnold).

A number critics cite Raft's performance as one of his best. "Raft is letter-perfect as the fast-talking, faster-thinking gambler who plays his cards close to his chest, speaking only with his mouth while his face says nothing, just his flashing eyes giving evidence of the wheels turning behind his outwardly calm visage," describes blogger Educated Guesswork.

Beaumont is the strong-arm enforcer to political big-wig Madvig, who also runs the city's crime syndicate. Directed by veteran Frank Tuttle, "The Glass Key" has been categorized by film historians as one of the first 'film noirs' brought to the screen. One scene especially qualifies its membership to the world of noirs' expressionistic lighting. Critic Dan Stumpf notes, "There's a particularly fine moment where he (Beaumont) watches a brutal murder without a flicker of emotion. Tuttle keeps the camera on Raft, his face lit by a wildly swinging overhead light that slows as a life slowly ebbs away." While directing "The Glass Key," Tuttle joined the American Communist Party, seeing it as a force to tamp down the rising power of Adolf Hitler. His membership ultimately hurt his career after World War Two, and was listed as one of 36 names linked by the Congressional House Committee in the late 1940s to be blacklisted in Hollywood.

Young actress Ann Sheridan, who claimed she was genealogically linked to Civil War Union general Philip Sheridan (her father was his grandnephew), showed an interest in acting at Denton Texas High School before earning a bit part in the 1934 movie 'Search for Beauty.' After twenty small uncredited roles, the 20-year-old actress appeared in "The Glass Key," playing the nurse overseeing the beaten up Ed in the hospital. Sheridan was one of Hollywood's more prominent screen actresses, whose career was cut short at 51 from cancer in 1967.

Gary Cooper was originally scheduled to play the George Raft role, but he was in the middle of a contract dispute with Paramount. "The Glass Key" was remade in 1942 with Alan Ladd and Veronica Lake, while the Coen Brothers made a more stark version of the Hammett story in their 1990 "Miller's Crossing" with Albert Finney.

great movie

[meashley · 10/10 · 4 June 2022]

Love the acting and love the screen writing. Overall great movie. George Raft did a fantastic job acting yet again. I also like the end how he tricked that guy into confessing what he did. It was funny when he helper doing a magic trick lit his pocket on fire. I liked how loyal Ed his and how he is a great friend to Paul.

10/10.

Great classic!

[wkozak221 · 10/10 · 26 February 2020]

I love classic Hollywood films. People should watch more of these films. You get to see real talent. I am impressed by Mr. Raft. He was an excellent actor. This version is great. Edward Arnold is great in his role. A must have for your collection.

Cool Customer

[tedg · 14 August 2007]

This is before noir. There aren't any noir elements in it. But there is something else: the type of tough guy that would become a staple. It seems to have started with Hammett. We already had the loyal man, strong and true and sometimes coming back from a beating. But this guy's a rascal, womanizer and gambler. A tough guy dedicated to someone who by ordinary standards isn't worth it. George Raft is as good in this as Bogart ever was later after the type had been established.

The story is pretty interesting too if you make allowances for the bizarre coincidences, the circular personal connections and the trite resolution. What's interesting is the twist. By itself, it is ordinary, but Hammett seems to have known that the twist also has to reinforce the types because the whole thing is about the types.

This surely is not the first time a hoodlum is portrayed sympathetically. But it is the first time I know that it is done well and integrated with the structure of the story. There's a particular scene worth noting. Our hero was nearly beaten to death by a big thug. He escapes. This really was brutal.

Later, he goes to a bar where he knows this guy is. The thug is drunk. They to an upstairs room by themselves to have some more drinks before the thug plans to finish off Raft. We know this thug has just violently killed a simple man. Raft is supremely cool and of course comes out more than okay. If this were noir, he wouldn't; he wouldn't be in control. But this is an anti-noir where a human can be in control. He is.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

Covered By Ladd/Lake Remake...As Good & Still Packs a Punch Foreshadowing "Noir"

[LeonLouisRicci · 8/10 · 8 November 2023]

Lacking Only the Glossy Sheen Perfected in the 40's, this is, the Under-Seen 1st Version of the 1931 Dashiell Hammett Novel, which was Remade 1942 with Alan Ladd and Veronica Lake.

This is Directed by the Blacklisted Frank Tuttle (who made a mark with "This Gun for Hire" (1942), and made a Star out of, wait for it...Alan Ladd.

Ever Since the Remake this One has Faded Further and Further From Film-Buffs Lexicon and has Lingered in Near Obscurity Only Mentioned in Passing Reference.

Also Hindering the Reputation is the Much Maligned and Overrated, especially Compared to Alan Ladd, George Raft in the Lead.

But, Truth be Told, it is a Solid and Spot-On Performance from Raft that He Seldom Matched, and the Enormous Popularity of Alan Ladd Helped Hide this Under-Seen Gem for Years.

It Contains some Brutal "Code-Pushing" Violence, especially the Famous Scene, in Both Versions where "Ed" Gets the Tar Beat Out of Him by a Possibly "Gay" Sadist Guinn Williams, William Bendix in the Ladd Version.

Also, Witness some Impressionistic Overlays of Shadowing that Preceded the Film-Noir Prime, Possibly Influenced by the Recent Run of "Horror" Films that were Extremely Expressionistic.

Edward Arnold Plays the "Mob-Boss" Controlling the Politics and the City, Brian Donlevy in the Remake. Arnold is More Hard-Boiled, but Phonies Up a Laugh Now and Then. Both Performances Hold Their Own.

Where the 40's Version has Effervescent Veronica Lake Stealing the Spotlight, Rosalind Colli as the Love-Interest Here is Basically a Non-Entity and is Overshadowed by Raft, Arnold, and the Interwoven Political Corruption-Crime Elements.

Look for a Young "Ray Milland in the Opening Act as a Freeloading Gambler that Stirs Things Up in a Big Way.

Madvig: "He's practically given me the key to his house." Beaumont: "Yeah? A glass key. Look out it don't break off in your hand."

Film-Buffs Must See Both Versions for the Full-Monty.

Arnold & Raft reach the heights

[OldieMovieFan · 10/10 · 31 October 2022]

This splendid film rolls across the screen like scotch flowing into a glass. Every part is exceptional, every scene is strong, from Ray Milland as a rich guy in over his head, to Claire Dodd in her small but pivotal part as Milland's sister, to Guinn Williams in probably the best role of his career.

Raft goes down to the depths of the jungle and puts his hand right in the lion's mouth for his friend.

Even the hard nosed nurse in a one minute scene is just devastating with Ann Sheridan thoroughly dominating George Raft - who has just taken a series of brutal beatings with a careless, almost cheerful aplomb - and forcing him into silent submissiveness.

Amazing characterizations, but over all the drama and action - and there's plenty of it - and in the face of all these great players, even in spite of Raft's outstanding acting, Edward Arnold gives an astonishing performance and walks away with the film.

This one is definitely a 10!