35mm. The first half hour, in the night, is a brilliant use of brightness and darkness, just as in the final sequence at an amusement park, also by night, where this movie finds the lifeblood of its movement. During the day, strollin' around San Francisco, the most beautiful city of my world, the film reduces the soul that gets in the night. Ann Sheridan is absolutely extraordinary and should be more remembered.
3,8/5 Quel film attachant ! L'exemple même de ce que le film noir de série B peut proposer comme bonne surprise : nerveux, qui ne s'embarrasse pas de légitimités psychologiques, humour tranchant, mise en scène efficace (bien qu'elle utilise les clichés des cadres inclinés et des éclairages nocturnes expressionnistes dans un N&B pandesque) et, au final, une plongée dans de troubles consciences...
Exemplaire réussite du "film noir américain" qui accumule les accessits aussi bien dans la subtile sournoiserie de son scénario, que dans le lent cheminement d'un couple qui se retrouve après de temporels égarements, une splendide mise en scène et en situation de tout un monde de loosers ombrageux ou pathétiques, noyés dans la somptueuse grisaille de leur désenchantement. www.cinefiches.com
A story with potential but ruined mostly by Hays code.. A rare occurrence where knowledge of film history kills the ending. Although I suppose the ending thrill does follow Hitchcock's "made 'em despair but don't actually kill the protagonist" guideline, that is if I identified with the protagonists. Why ran away from police protection? And the Chinese dancer being so dense.. Didn't she know why Johnson is hiding?
"Although WOTR opened strongly amidst positive critical reviews, attendance dwindled precipitously due in part to a bizarre advertising campaign that touted the movie as a woman’s picture: 'a probing study of the failure of modern marriage.' Quickly falling into obscurity, the film has been long and unjustly neglected, [when it should have been] heralded as a minor masterpiece.”-Steven K. Hill, UCLA Film & TV Archive
Tightly structured film noir that begs rediscovery. A man witnesses a murder and avoids becoming state witness by going on the lam. The police use his wife to track him down while she is accompanied by a reporter who may be more than he seems. Very well paced with a memorable climax in an amusement park. Worth looking for.
The balance of comedy and tension with the search for Frank kept me going through the film. Everything worked well with their approach and I enjoyed just watching the film more than the other restored noir this month. Nothing against that film, but this one was fun to watch.
"I thought the police were supposed to protect people - not put them in danger." // Fabulous S.F. scenery, but the finale isn't Playland-at-the-Beach in S.F., it was filmed at Pacific Ocean Park in Santa Monica. However, you can still visit Laughing Sal, the maniacal automaton from that scene, at the Musee Mecanique, located in the former location of Sutro Baths and Playland-At-The-Beach in S.F..
What a surprise! I mean it: it starts off with the most classic cliché; then charms you with its dry humor; then moves you with an unexpected, bitter love story; and finally, turns out with a thrilling climax. Maybe its most remarkable quality is how organically all these elements fit together, and how they give unsuspectable depth to the plainest plot. Now that's how you write a screenplay.