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Fragment of Fear (1970)
Anatomy of paranoia
This film has many possibilities to turn interesting but it never does. The munder of the pious aunt in the beginning is just the first instant of an any number of inconsistencies that never make any sense. For some pathologists lost in the mumbo jumbo of psychology it might be of interest in some instances, but any thread that starts looking hopefully for giving some hint at the plot of all the anomalies, just peter out, like the laughing man on the telephone. David Hemmings always make good performances, but he is seldom served with any script that makes sense. His best films were Joshua Logan's "Camelot" as the rebel Sir Mordred and the photographer getting into trouble for his photos in Antonioni's "Blow-Up", he was always good and convincing as a rebel, but the scripts he had to act for seldom made any sense. The film is well made, the direction is perfect, the colour photography is splendid, while the main lack is in the script. It just derails from beginning to end.
Deported (1950)
An American gangster getting second thoughts in Italy
The film is better than its reputation. Jeff Chandler has served five years in Sing Sing for his racket and is deported to Italy, his home country, which he hasn't seen since he was a small boy. His remaining family, most of them are dead, take good care of him and he finds himself at home in the town he never knew, which becomes interesting for him by the young widowed countess, Marta Toren, whose husband died in the war. His company makes her stop wearing black, and there is a beautiful romance developing. However, his past catches up with him and he gets involved in an Italian racket which threatens to ruin everything, but the story glibly passes on through some complications to reach a satisfactory end after all. The film is mainly worth watching for the performances of Jeff Chandler and Marta Toren, they are both always reliably good, and Robert Siodmak's direction adds some interesting camera work to the plot. In brief, there is nothing wrong with a mobster turning to charity, if his destiny will just let him.
Sea of Lost Ships (1953)
Fighting icebergs among icebears and foundering ships
The films with John Derek are not many but they are always enjoyable for his very sensitive acting, usually in parts where he gets into trouble and has to work hard to get out of it, if he is not executed or dies on the way. This film is mainly interesting for its documentary parts. The film begins with the Titanic disaster and ends with another disaster of same kind, a Norwegian passenger ship running full speed into an iceberg and getting stuck there in the fog. John Derek is part of an Arctic Coast Guard patrol, founded after the Titanic disaster just for the purpose of avoiding further accidents of that kind, and there are amazing sequences of the rescue team at work. The story is very ordinary, but the Arctic scenery is well worth wasting a film on. Walter Brennan plays the adoptive father after John Derek lost his own father in a failed rescue operation. It's an adventure film based on reality.
Conduct Unbecoming (1975)
Regimental honour at stake
It could be treated as a negligeable trifle of a soldier violating the finest lady of the place, but etiquette demands the matter to be court martialled with both a prosecutor and defense, and as the proceedings go on, everyone desiring to get the problem brushed off as quickly as possible, strange facts turn up to make it a very complicated matter indeed. The lady in question is found to have been lying, a widow of a renowned hero of the regiment, and the question must arise, why she was lying. Who was she protecting? The answer is only the regiment, for the sake of the honour of her deceased husband, killed in battle. It's an intricate court case parading all the best British actors at the time, Trevor Howard, Richard Attenborough, Christopher Plummer, Michael York, Susannah York, Stacy Keach, it's an excellent play brilliantly performed under the expert direction of Michael Anderson, and if you find it dull and boring you will find it surprising by the unexpected turns it takes. Almost all the actors make some of their best performances ever, especially Michael York and Stacy Keach, and you will inevitably be hanging in the end with the unanswerable question: what happens then?
Soho Incident (1956)
Canadians making the mistake of going to Soho
This is only a shabby B-feature but it grows interesting as it develops. A young Canadian coming from America has a friend in Soho whom he looks up and asks for a job, and the friend gets him a job as a kind of general technical support to a Sicilian who runs various rackets concerning racing horses and greyhounds, who doesn't mind applying murky measures. He has a sister who gets interested in the young Canadian, and they develop a relationship. Too late it appears that she is the spider in the web of her brother's murky affairs, our Canadian wants to get out but it is too late, he knows too much, and she won't let him. There are a few murders and that spiral is getting worse, and so the intrigue develops towards constantly more doubtful complications. Finally there are some thrilling car chases through the waterfront of London with amazing views and insights into that and the Soho part of London in the 50s. For this the film is worth watching, even if you have to wait for it. Faith Domergue makes a fascinating portrait of the fatal woman in question in her cool intelligent and cruel calculation, and Lee Patterson makes a likeable figure of the innocent Canadian who can't get out of his unintentional mess. It should be seen in black-and-white though.
One Girl's Confession (1953)
When you tie a knot that ties up your life into a knot you will not be able to untie it yourself.
Cleo Moore was the blonde bombshell that Hugo Haas usually used for his classical "femme fatale" roles, but here she is actually quite good, although she almost never varies her stone face of a cold marble statue, and her role and performance here would impress anybody. The story is typical of Hugo Haas, rather sordid with much bitterness and mean spices, but it actually gradually turns more and more into a comedy. It has the form of a morality, what you do will be sent back to you by fate, but there are some unexpected twists to the sordid plot which actually makes a favourable summary of Cleo's character. She makes the best of it whatever she happens to, and her five years in prison is ultimately turned to her advantage. Although there is reason for much bitterness and hate, she never lets it get the better of her, while her employer (Hugo Haas) really has his ups and downs, being both consistently lucky at cards and making it his own ruin. As a morality turning into a comedy by most unexpected turns it is rather thought-provoking, and like all Hugo Haas' films it has great human and psychological interest, and the acting with the music is perfect. This must be one of his best films.
The Woman in Question (1950)
Five portraits of a lady - or the opposite?
The mystery here is which of the portraits is true. They are all true according to the witnesses delivering them, who see her as a victim, a saint, a rotten something, some divine angel, but something is wrong about all of them. One of her various lovers and suitors is a Welsh sailor, wonderfully played by John McCallum, actually the best part of the film, another is a poor widower to be, having pets and parrots for his only company, then there is the sister who is the one who really knows her sister and makes her suitor Dirk Bogarde know her well too, and then there is a weird book-keeper who only gets one scene to his and her disadvantage, and of course there is a shrew of a land lady, Hermione Baddeley, who dominates the first part of the film and gives a very bad picture of all Jean Kent's suitors and cavaliers. It's a wonderful mystery, expertly contrived by bits of piece to a jigsaw puzzle, but the solution, after all the previous mess, will hardly come as a surprise, while you must feel pity about the poor fellow walking out of the last scene.
Bequest to the Nation (1973)
Nelson and his two opposite ladies
"That Hamilton Woman" of 1941 was a spectacular Alexander Korda production bent on exonerating the woman in question, marvellously played by Vivien Leigh in her prime against Laurence Olivier as Nelson who consequently became her husband. It was a very romantic film romanticising and idealising the affair and story, making Lady Hamilton something of a martyr and a saint, while this film, written by Terence Rattigan, does the opposite: it focuses entirely on undressing Lady Hamilton almost to the bone, making her an almost unbearably impudent self-indulgent and self-derogatory shameless woman, whom no one can understand how Lord Nelson could prefer her to his wife. Well, he did, and his wife even made him an ultimatum to choose between the two, and he actually chose the cheap and vulgar one, if you are to believe Terence Rattigan. His portrait of Lady Hamilton must be somewhat exaggerated, she can't have behaved like that in social life, although Glenda Jackson makes a virtuoso performance of her. Peter Finch is perfect as Lord Nelson, quite credible in his love and weakness for her and still remaining in perfect order and loyalty as an admiral. Lady Nelson is heart-renderingly played by Margaret Leighton, which must be one of her best performances, and also Gladys Cooper made an excellent interpretation of her in "That Hamilton Woman" - both films make her justice. Glenda Jackson overdoes it in all her splendour, and the final battle of Trafalgar crowns the film in realism and admirable reconstruction of the battle. It's a great film although slightly biassed by Terence Rattigan, who did not understand women. An additional triumph of the film is an absolutely stunning and perfect score by Michel Legrand.
The Naked Street (1955)
Charting the depths of a dark world constantly growing darker
Anthony Quinn is at his best as a ruthless enforcer in the dark gambling world who is used to enforce his will whatever he wants by any means. Anne Bancroft at an early stage is also at her best as his sister who gets pregnant by a young man who is found to have ended up in Sing Sing after a brutal burglary murder, sentenced to death within 60 days. Farley Granger is that man, it is not a nice role, you have to agree with almost everyone that he is no good, but Farley Granger makes the best of it, he is at least good looking, so it's quite believable that Anne Bancroft would fall for him. It's a sordid story, it has to go only one way involving the deaths of two of the main characters apart from dozens of others ending up as victims, it's a story of corruption, bribery, brute force and anything rotten, so it's not very uplifting. But it is well acted, and you get a fascinating insight into this very hopeless world where at least someone survives.
Over-Exposed (1956)
Working hard by exposing yourself and others, whether they like it or not
Cleo Moore was the actress that Hugo Haas used in almost all his films as a rather shabby second rate blonde bombshell, somewhat more vulgar than Diana Dors, and his films with her were usually rather sordid stories in no way following the Hollywood rule of happy end at any cost but rather following the pattern of bleak tragedies, but almost always of psychological interest, trying the bearings of the noir in as many aspects as possible, here she is not psychologically interesting but instead better as an actress than usual, exposing herself at the cost of any depth of the story. Richard Crenna is good and does his job and ultimately saves her, and following her story you have to admit she had to be saved. It's about a career in the superficial world of magazine photography, where the constant quest is for something sensational, which sometimes turns up without anyone desiring it and causing more problems and controversies than money and interest. And here, in opposition to all Hugo Haas' films, she accomplishes a very formal happy end.
A Call to Spy (2019)
The female spy with a wooden leg
This is another invaluable documentation made into a film to tell the story of extremely remarkable young women, who after the fall of France in 1941 trained as spies and volunteered to go to France risking their lives to support the resistance and help them sabotage the German tyranny and cruelty. There are no sympathetic Germans here, they are all cold-blooded and cruel to to the point of total inhumanity, while of course it is impossible not to be possessed with overwhelming admiration for the brave beautiful young girls, one of the prerequisites for being allowed into the spying business at all was that they had to be pretty. The stories of Virginia, Vera Atkins and Noor, three very different fates ending up in the same boat, are extremely fascinating, educating and thought-provoking and just had to end up as a very good film of everlasting interest. The one problem of the film is the treachery of the priest involving even an entire convent harbouring refugees and resistance fighters, but that was probably a bitter part of the reality. It's a great film on a great story with great acting all the way, and those lovely courageous ladies you are never likely to forget.
White Witch Doctor (1953)
Out of and into darkest Africa
This is even better than John Ford's "Mogambo" of the same year, although there is no Ava Gardner or Grace Kelly here. Instead there is only Susan Hayward but she is always reliably brilliant and here more so than usual. She is the widow of a doctor whose dream was to go to Africa to practice his profession there, but she refused that challenge, and he died in an accident without having had the opportunity to realise his dream. Instead she felt guilty and decided to do it in his place. So she goes to Africa to assist an old legendary doctor without any idea of what is expecting her. She runs into Robert Mitchum, who lives on capturing wild animals to sell them to zoos around the world, and Walter Slezak, who is the worst kind of opportunist, dreaming of claiming gold in the most remote parts of the Congo, where people die of blackwater fever, enlisting Robert Mitchum for a partner, as he believes. He is a perfect representative of the Belgian exploitation of the Congo under Leopold II, who had most of the population killed for his greed, a very ugly chapter of European colonisation, but as always things turn out differently than anyone had expected. The film is worth watching for tremendous photography catching wonder scenes of local native wildlife, making the film a goldmine for ethnographers. Another jewel in the crown is Bernard Herrmann's terrific music augmenting the charm and magic of the film. Although masked as a typical adventure film by master Henry Hathaway it is actually a real gold piece for connoisseurs.
Foreign Correspondent (1940)
Accidental job thrusting you into the outbreak of World War II
There are so many eloquent sequences here both of photography, scenery, direction and action that this must be a film that at times you have to return to in order to refresh all the delights. Some scenes you are likely never to forget, like the umbrella scene of the assassination, the very suggestive interior scenes of the windmill, the spectacular cathedral incident and of course the final airplane disaster, but the greatest asset of all is the brilliant manuscript, authored by no one less than James Hilton (of "Lost Horizon", "Random Harvest", "The Story of Doctor Wassell", Goodbye Mr. Chips", "So Well Remembered", "We Are Not Alone" and other terrific stories made into great films,) the dialog is ingenious throughout replenished with wit and good humour - the film is actually crowded with those typically Hitchcock jokes, while the drama in itself is a great and impressing composition, culminating in the outbreak of the war. Joel McCrea, Laraine Day, Herbert Marshall and George Sanders make a perfect quartet of splendid acting, while perhaps the most important role is that of the old Albert Bassermann as Van Meer, the crucial character of the film. You can't deny it, this is a great film although made as an adventure, and it was also a great box office success.
The Quiet Gun (1957)
The undertaker finally got something to do
This is a quiet under your breath western like a sleeping volcano, and you just wait for the eruption, which is bound to come. The outbreak concerns the whole town, they are all in on it, and when atrocities are committed everyone is innocent although they all backed it up, while a few hands can't be excluded from havíng used weapons. The tension here is similar to that of "High Noon" a few years earlier, the sheriff here is in that same position and has to tread very carefully, but is clever enough to use the one peaceful means which is available to him, which is the inevitability of the law. This is not a morality, not a shoot-out drama, but a quiet orderly implementation of the law in spite of an outbreak of lawlessness touching the whole town. Forrest Tucker makes a great performance with clenched teeth and fists and moves slowly across the minefield, while the town undertaker impatiently waits for something to do. Well, he gets it in the end.
Nora Prentiss (1947)
The man who killed himself
This could be seen as a foretaste of Hitchcock's "Vertigo" ten years later, it's the same kind of helpless obsession with a beautiful woman, the same unfathomable melancholy about the hopeless case, but the woman here is no cool Kim Novak allowing herself to be used as an instrument, but a warm Ann Sheridan with a heart who is prepared to follow her ruined man down the drain, and who is a great singer and performer appearing at a nightclub and with a profound integrity. Ann Sheridan's acting was always interesting and captivating and here more so than ever. The story is a very dark thriller, a well respected doctor in a high position with a lovely wife and two children finds some change to his humdrum life of perfection in the friendship of a lovely night club singer which develops the wrong way into an obsession. She is the wiser of the two, she sees the necessity of his staying away, but he can't control himself and finds no other way than to arrange his own death. But you never can get away with any kind of murder, and the complication here is that his accidental death by suicide, as arranged more than perfectly, the police find to be a murder. Still Ann Sheridan follows the whole thing through and does not betray him - or herself.
Screen Two: Quartermaine's Terms (1987)
Lovable interior of a Cambridge school
All the characters here have their flaws, they are only human and prone to errors and mishaps, but in extremely different ways. This must be somewhat autobiographical, the inside information of the personal lives of these teachers is too intimate to be invented, they really are like a family, and they all feel the anguish of the one member who is unmistakably faltering, although he is the nicest of them, always encouraging and inspiring by his constantly positive attitude, cheerful and as reliable as a friend as any Mr. Chips, but he can't keep up his focus, he dozes off, he ends his classes too early, in brief, he is no longer qualified, and it's a perfectly clear case of too early dementia. Edward Fox makes this role in perfect sustained consistency, the principle John Gielgud feels the pain of this vital part of the family slipping away, while all the others are not aware of the crisis. It's a wonderful play, it's practically all indoors in the same room, but it is marvellously acted. It is English filmed theatre at its best.
Affair in Trinidad (1952)
Glenn Ford saving Rita Hayworth from villains again
The script is even worse than that "Gilda", but Rita Hayworth makes the best of it and saves the film especially by her dancing and singing performances, Glenn Ford overdoes it and makes almost as bad a performance as in "the Loves of Carmen", the villains are not very convincing, and the whole thing suffers from an awkward preponderance towards irrationality. It's a pity that Hollywood never has learned that remakes never can live up to the original. "Gilda" was a triumph, but any effort to repeat that success had to be stillborn, in spite of the good direction, excellent photography, perfect actors while the missing wheel in the wagon was the script, which is implausible to the point of absurdity. It's not a bad film, Rita Hayworth is always worth watching, she saved many films, while Glenn Ford never was good enough for her. The atmosphere and environment of Buenos Aires in "Gilda" added much charm to the film, while the only added charm here is the excellent Dominique (Juanita Moore), Hayworth's maid with some radar instinct, who makes a major contribution. The music is good but not outstanding, and the sum of it is a rather second hand imitation boldly aiming for a high target but missing it.
Crisis (1950)
Anatomy of a Latin American revolution
Cary Grant made very few serious roles, and this might have been almost his only one. He is a brain surgeon on a holiday with his wife in a Latin American country, when he is kidnapped by the local army and asked to perform a brain operation on their president (Jose Ferrer) who suffers from a brain tumour. The president's wife is the beautiful Signe Hasso, who makes a great appearance. There are parallels to Juan Perón, dictator of Argentina at the time, and his wife Evita, several films have been made inspired by their duo, but they have generally missed the point, which this one also does. The country here can't be Argentina, because there are high mountains and the train passes through them, why the country looks more like Bolivia or Peru. Cary Grant is put to a difficult test, since his wife is kidnapped by the revolutionaries when he has tried to send her home and they promise to kill her if he saves the president's life. He saves the president's life without knowing about the ultimatum, but the revolution breaks out, no one wants the dictator any more, most dictators end up extremely unpopular, that's the general course of their careers, but Richard Brooks has made both a very competent script and film, it is highly dramatic and tense, there are wonderful local scenes especially from the café, so it certainly has its merits. Richard Brooks proves already here his master's hand at sustained drama.
Spies and Lies (2010)
Creating a mirage to make it more convincing than reality
It's difficult to believe that this is a true story, because it is so amazingly incredible, and yet a prominent clique at the top of the government took everything seriously from the beginning, and so they all just had to follow the whole thing through to the end. The most amazing thing is that anyone could believe it from the beginning, since it was so brazenly improbable and fantastic going over the top from the beginning. You have to look at it from the perspective of the actual war, the Japanese having taken Singapore and threatening Australia, and that's why the shrewd plot seemed so convincing that no one could doubt it. Perhaps Sid Ross even believed it himself in the end, when a lie is carried too far those who invented it more often than not fall victims to it themselves. It's a wondrous story, well written and acted, and must fill anyone with wonder and awe. I was very sceptical from the beginning, but when finally everything stumbled on just a parking ticket involving the police, which trifle was handled with careless stupidity, the whole thing became serious as it started approaching the truth. You could regard it as a comedy and a thriller, but it is actually more like a documentary and a page out of real life, showing in detail the workings of a con brain in its unquestionable shrewdness and astute cleverness.
He Ran All the Way (1951)
As noir as any noir could be
John Garfield's last film is his darkest drama which constantly gets darker as it rolls on, as the film is something of the perfect study in paranoia and how it works. Finally there is no room for any possibility of any sense getting through, the mind is obsessed with its own delusions, it can only trust and believe what it imagines itself, without any hope of the person realising or finding any detachment to his own mad ideas, which have to be true just because he imagines them to be. It's actually a shocking performance by the brilliant John Garfield, one of the most brilliant actors Hollywood ever brought forth if not the most brilliant, and Shelley Winters presents his perfect partner and counterpart. The acting, the direction, the music, the photography, everything is shockingly perfect, John Garfield starts the film in a cold sweat in his bed after some bad dreams, and the bad dream will develop into the entire film. There is no way out of the blind alley of one's own fixation on oneself, and when finally at last some realisation dawns it is too late.
There Was a Crooked Man (1960)
How to put a small town bound in hopeless slavery and serfdom on its feet by blowing it all up
This is actually a scorching social satire dressed up and developed into a hilarious comedy to match the best British comedies of the 50s. Many shrug their shoulders to Norman Wisdom and find him more silly and ridiculous than funny, but he actually has some veins of the same kind as Charlie Chaplin. Many of the scenes here are so funny that you'll have to laugh your sides off, but don't be fooled by the tremendous masquerade concealing some of the major issues of 20th century society, brought to shattering light by George Orwell and Franz Kafka. When you discern the skeleton hidden behind all the fun you won't laugh any more but still enjoy the exaggerated but poignant satire. Wisdom really shows off to crown the show when he dresses up as an American general from the south with an accent to overwhelm all Washington. This was one of Susannah York's first major performances. Andrew Cruickshank made many crooks in his days, they are all excellent, but here is one of the best, played with great and shrewd irony. It is one of the major satires of the early 60s and the better for being such a hilarious comedy at the same time.
Fortunes of War (1987)
Unvoluntary odyssey of stranded Englishmen vainly trying to avoid and escape the war
I saw some episodes of this when it was new 35 years ago, and I was very happy to find the possibility to at last watch all the seven episodes. Just the two episodes I saw then made an unforgettable impression, and I always kept hoping for an opportunity to see it all. At last it came, and the unforgettable impression was strengthened to some maximum. It's a great story, acted by a wonderful team of actors, they are all young and fresh here, Emma Thompson at her most adorable, Kenneth Branagh before his Shakespeare films, Rupert Graves young and innocent, Ronald Pickup is more than perfect, old James Villiers has a characteristically melancholy part, Charles Kay is outstanding, and even Geoffrey Rush has a small part in Egypt. And then there is the story of the poor Cambridge professor Lord Pinkrose, wonderfully played by Alan Bennett, who comes all the way down to Bucarest to deliver an exclusive lecture on Lord Byron, who gets caught up in the war turmoil and has to follow the escape of the others first to Athens and then to Egypt, where he at last gets the opportunity to deliver his unique lecture, with unexpected complications. Richard Holmes' music is hauntingly beautiful and perfectly well suited to the different settings, especially in the first episode in Romania, the fourth episode in Athens (the most beautiful episode) and the final episode with the showdown. The fact that the director James Cellan Jones and the composer Richard Holmes both made all seven episodes gives the film a wonderful continuous uniformity with a constant flow and unity of style enhancing its beauty and artistic splendour. It is possibly the highest complimentary verdict you can give a film that it sticks faithfully to the book, which this film evidently does with meticulous care. There is nothing more to be said. This is one of the finest BBC productions of an epic ever.
A Woman at War (1991)
With your life at risk during the entire war and surviving.
This is a Polish film shot entirely in Poland, in Wroclaw (Breslau) with an outstanding Polish score by Stanislas Syrewicz, and seldom has a musical score fitted better into a film than this one. It is dark and ominous, expressionistic and highly tense, loaded with engagement in the story in the same way as the music of "The Third Man" by Carol Reed, Anton Karas playing the zither, and this music is equally poignant and gripping. Martha Plimpton makes a terrific unforgettable performance as the young girl who has to keep her stern face at any cost, no matter what she experiences by the loss of parents and friends, colleagues and comrades, making a war of her own against the Nazis by pretending to be one of them just to fight them discreetly behind their own lines. No one ever suspected her, while only some fellow Jews and her collaborators knew it, and they were all sacrificed as victims for risking their life for the resistance. She made it almost alone and that is a merit which will stand for all time, and Martha Plimpton under the direction of Richard Bennett has made the performance of her life. Hopefully she will do more.
The Glass Wall (1953)
Running for your life - from life or for life?
Vittorio Gassman makes a great unforgettable performance here who has been escaping from all the horrors of World War II Europe including concentration camps, who massacred his family, and his lost country of Hungary, to find himself in America as a lawless stowaway and refugee who when caught will be immediately sent back to the hells he escaped from. The character of the film is very much like Carol Reed's "Odd Man Out", also an escape story of a wounded man struggling on an inevitable path to his death, but here he has a friend and find other friends who will do what they can to help him, if they can find him and if he can find them. It's a hide-and-seek drama all over New York ending up in the UN skyscraper where Vittorio Gassman demonstrates a great finale pleading his case, without anybody listening. It's a great American Neo-realistic drama with some exaggerations, but the message gets through. You will never forget Vittorio Gassman for this.
Crashout (1955)
"Every day is the day before you die."
No matter how brutal and abominable characters William Bendix makes on film, he is always fascinating, his films are always good, he always leaves a strong impression behind, whether he makes it or he dies, while Arthur Kennedy is more incalculable. He usually makes honest parts, he is always frank and has important things to say, he is usually secondary but in the best sense, since he always makes a good and likeable impression, even as an escaped convict. There are a bunch of them here, most of them murderers, and they will murder again if they feel like it or at least make efforts in that direction. They don't all survive here, and the last struggle is the heaviest, where the strongest of them go down. It's a great epic noir of tremendous proportions, actually reminding of one of the best of them all, "Runaway Train" of 1985, which has a similar ending. This is a film for connoisseurs, although it formally is just a B feature. In spite of the brutal barbaric cast, there are actually two women here who add some interesting spices and taste to the doomsday-like drama - you know their cause is lost from the beginning and that they have no chance, and still you cannot help following every move they make with almost compassionate interest. As a noir it is a classic.