Dassin y un modesto filme de brotes noir por un tipo de negocio ilícito y una femme fatale que es uno de los elementos más atractivos de la película. Un caso curioso es el final que le aguarda a este personaje, algo que de por sí desmitifica la naturaleza y destino de una femme fatale. Por lo resto, es también una road movie (una gran secuencia de una coalisión), un filme sobre la codicia y la redención.
Film noirs sometimes have a plot device at the center: a jewel-encrusted bird, a mysterious blonde, an atomic box. This one has apples. Golden Delicious, to be exact. But this is actually one of the film's biggest hooks, the way it shows cutthroat, even violent economic forces behind even the most mundane of items. So four stars for that, minus one for a wonky third act and some truly lame studio meddling.
Evocative noir set in the world of wildcat trucking and the shady California produce industry. Beautiful location shooting, compelling performances, and the noir staple of a returning vet confronting the underbelly of America. The movie's only slightly tainted by Darryl Zanuck's end-of-the-picture changes made to appease forces for good in the community.
Not quite as intense as Dassin's films usually are, but the locations give this a level of authenticity and atmosphere that is missing from some more well known film noirs. Cobb is a highly memorable villain, and the premise of a long-haul boy trying to avenge his father is certainly something I had never seen before.
It all started so happily. But leave it to Dassin to give us a noir thriller that combines cutthroat capitalism & the perils of truck-driving (and it all just so happens to involve apples). The faults come from Cortese's performance & the screenplay. Despite the hero's ultimate destiny (you can tell both women would've eventually let him down), this ain't The Wages Of Fear but it's still a solid film.
This movie really earns its punches, which is refreshing to see. Even today. I guess that's what's really appealing about this flick. Sure, its revenge rag to riches and film noir trappings aren't really what makes the movie work so well, its the fact that it draws in you with sympathy for the lower class without feeling like an uninspired discourse in the evils of capitalism. This is no Micheal Moore doc, kids!
Far from perfect, but hits some notes so well. The apples rolling down the hill! Mostly more fascinating is the protagonist's partner and his trajectory. Lee J. Cobb turns in another great villain, this one tamer than what I'm used to from him, but no less cunning and cruel. And with such burly bravado.