A little formulaic but still great - Kubrick does noir really well. Made on a shoestring, he didn't have a permit for most of the exteriors so most of the shots in Times Square, Penn Station were "illegal". It's obviously polar opposites from his later work but damn, this movie was good. The boxing scene and the showdown at the end were fantastic, Kubrick really loved violence. Exceptional lighting too on this one.
Very bad in many ways (it's poorly acted, slow and chickens out at the last minute-normally the kiss of death for noir), but Kubrick's visuals are not just extraoridnary, but even visionary. Even if The Killing is better, this directly anticipates his unprecendently original style more directly. Eerie, beautiful, with great location work...the greatest bad movie, or the worst masterpiece of all time? You decide.
Etonnant et fascinant second long métrage de Stanley Kubrick, qui assura entièrement la partie technique de l'oeuvre, pour un résultat somme toute époustouflant, tant pour l'exceptionnelle maîtrise de la caméra, que pour une solide direction des principaux acteurs, en particulier Ruth Sobotka, qui fut dans le privé, la première épouse du réalisateur (1954-1957)... www.cinefiches.com
Featuring some interestingly shot and lit scenes, Kubrick's second feature had a bigger impact on me than his first movie (without counting, of course, his documentaries). It's still a product of its time and it shows in its lengthy shots, extremely passionate kisses and basic character arcs (if they could be called that). There are also instances of telling instead of showing, but that could be due to the budget.
With a nonexistent budget, as well as directors inexperience at the time, it was probably hard to provoke more charismatic actors, developed characters and less of a cliche story. But as composing the mix into a believable (and quite picturesque at it) whole goes, it is a deserved directing degree.
A criminal movie in the tradition of the film noir, but in the end it lacks the darkness and bitterness of the top-film-noirs. Extraordinary are the neorealist captures of the New York streets and also the final chase over the roof-tops. The use of mirrors are also great with which Kubrick connects Davy and Gloria. A solid film by Kubrick.
Un cine negro modesto muy enchapado al prototipo estadounidense. El hombre frustrado (no necesariamente un detective) que se enrola con una femme fatale, los problemas no tardan en llegar. Una muerte, el antihéroe implicado...lo que sigue es lo que menos se espero, especialmente un final. ¿Un happy ending en un cine negro? Definitivamente no va.