Flucht ohne Ausweg

Raw Deal is directed by Anthony Mann and adapted by Leopold Atlas & John C. Higgins from a suggested story by Arnold B. Armstrong & Audrey Ashley. It stars Dennis O'Keefe, Claire Trevor, Marsha Hunt, John Ireland & Raymond Burr. Paul Sawtell scores the music and John Alton is the cinematographer.

Convict Joe Sullivan (O'Keefe), incarcerated after taking a fall, breaks out of jail with the help of his girl, Pat Cameron (Trevor). But something is amiss, brutish mobster Rick Coyle (Burr) is influencing proceedings behind the scenes, he needs to because he owes Joe big time. Kidnapping Joe's social worker, Ann Martin (Hunt), Joe & Pat hit the road, it's a road that will lead to desperate consequences for many.

A raw fatalistic film noir that sees the ace pairing of director Mann and photographer Alton. They, along with O'Keefe, had made T-Men the year previously, itself a tough piece of film making. Raw Deal is the lesser known movie of the two, but that's not in any way indicative of the quality of Raw Deal, for it's most assuredly the real deal for sure. What unfolds over the 80 minutes running time is a plot full of characters destined for disappointments or even worse; rarely has the title for a film been as apt as it is here! Mann & Alton move the tight screenplay thru a shadowy world of half-lit images and high contrast brutality. Jittery cameras are supplemented by unbalanced angles, which in turn are boosted by Sawtell's music compositions. One of the best decisions made by Mann and Sawtell is that of the narration by Trevor, in itself unusual for a woman of noir to narrate, it's sorrowful and mournful in tone anyway, but with Sawtell scoring it with the theremin it plays out as part of a nightmarish dream-state.

O'Keefe was not the leading man type, but that's perfect for this film, he offers a credibility to a man whose life has taken a down turn, where his only comfort is being a thorn between two roses, but with that comes more problems as he seeks to only breathe the fresh air of freedom. Trevor (loyal and knowing moll) and Hunt (dainty with whiffs of goodness seeping from every pore) play off each other very well, offering up a sort of devil and angel on Joe's shoulders motif. Burr is shot from the waist up, giving his character even more emphasise as a hulking, sadistic brute, and rounding out the good performances is Ireland as a sly hit-man type who revels in getting a rise out of his paymaster. But no doubt about it, the real star of the show is Alton's photography, itself the critical character. Mann's film would have been great and got through on his direction and script anyway, but with Alton's camera it ends up being essential for the film noir faithful.

From the opening, where the credits show up on the background of prison bar shadows, to the no cop out-classic noir-ending, Raw Deal hits the mark. A film that's bleak and at times brutal, yet rich in emotional depth. A must see for like minded cinephiles. 9/10

Claire Trevor providing voice-over narration to the accompaniment of a Theramin! What an indelible effect this makes! In a way, it is not the usual sort of narration we find in film noir: Trevor is usually shown as her voice, with that spooky electronic instrument providing harmony, come through on the soundtrack. The standard for this was to have the protagonist (almost always a male) do this but without appearing as he spoke.

Trevor not only appears but indeed appears in a hat with a veil covering her face. This will stick in your memory for years after you've seen it! Trevor helps boyfriend Dennis O'Keefe break out of prison. But a good girl, Marsha Hunt, has also visited and shown interest in them. Which one will he chose: bad but loyal Trevor or goody-goody Hunt? These are both excellent actresses. Marsha Hunt underplays a little bit here. But she is superb.

The movie has a very solid, if somewhat standard plot. But all kinds of things are tossed into the mix -- all to the movie's benefit.

For example, when O'Keefe has settled into his first hide-out, a wife-murderer appears and demands to be given shelter. He's there for a few minutes of screen time but after that his story is dropped.

John Alton's cinematography is superb. Anthony Mann directed this Eagle Lion feature with expert hands. Some of the characters may be losers but the movie is a true winner.

Joe Sullivan is in jail having taken the rap for criminal Rick, who owes him $50,000 for it. Knowing he is looking to escape, Rick greases some wheels to help Joe's girlfriend Pat to organize an escape – all with the knowledge that once he is out he will be certainly caught in the resulting police dragnet and either killed or sent back to prison for even longer; either way he'll be out of Rick's hair.

I have watched a few noirs recently and the last couple in particular were a lot slower than I would have liked, so part of the appeal of Raw Deal was the short running time, which suggested that it wouldn't be taking too long over anything. This didn't mean it would be good of course, but it was a sign I wouldn't have the problems I'd had with the last few. As it turned out, although not as engaging as I had hoped, this is a solidly enjoyable crime thriller with a tough edge and a good pace to it that means the toughness has an urgency to it. The plot does have love interest within it but rather than be the distraction it can be, it provides a duality to the character of Joe since the two women he is traveling with sort of represent either side of his character and the battle between them.

O'Keefe does a good job in the lead, tough but not inhuman and is likable. Burr is not quite as good as the villain but I think this is more to do with me than him since I always struggle to see him outside of the Perry Mason roles. Both Hunt and Trevor play their roles well and there is a nice tension between them throughout the film. Direction is good – it is fluid and makes the most of each scene, never once being stagey or stiff as some of the recent films from the period I have seen have been.

Overall Raw Deal is not a brilliant film but it is a very effective one. It is short, punchy and has an enjoyably tough edge to all of it. The duality of the lead character is well played out and the violence is nicely stated.

Raw Deal (1948)

What a moody, dark, steamy, dangerous drama. The story is a little clunky at times, but with this much atmosphere, who cares? Between classic early Anthony Mann (the director) and classic early John Alton (the cinematographer), there is no doubt about wanting to get sucked in, dragged down, swept away, and wowed. It really is a beautiful, brooding movie.

The key theme is escape, as a convict is on the run and he takes two women with him, one his girlfriend who is sort of "bad" and one an admirer who is basically "good." The two don't get along of course, and in the process of fleeing from one situation to another (pretty much always at night) we see the man switch from one kind of woman to another. This man is Dennis O'Keefe, who is strong and almost better here because he isn't well known and there is no baggage from other movies and other roles. The women are played by Claire Trevor, who is terrific, and Marsha Hunt, who is not--though she holds her own. Other smaller parts are gritty and impressive, including Raymond Burr as a very bad man, always photographed from below so he seems sinister.

If the escape and the running were the whole movie, it would have been compact and effective, a tight little piece following these three on the road, hiding, and eventually fighting for their survival. There is one odd and highly improbable scene were they happen upon another criminal running from the police. It's good drama, but too coincidental, out in the mountains of the Pacific Northwest. Otherwise the parts are strong, the story well paced.

And the visuals just stunning. That's the biggest reason to watch. And get pulled away.

Dennis O'Keefe stars in this crackerjack noir film directed by Anthony Mann. O'Keefe plays a man who took a rap for gangster kingpin Raymond Burr and now he's thinking he's gotten the bad end of a Raw Deal. He wants out of prison and Burr arranges an escape hoping he'll be killed in the attempted breakout.

If you recognize the plot think back to Angels With Dirty Faces where James Cagney takes the rap for Humphrey Bogart and George Bancroft and now wants back in on the rackets they've built up and the other two don't want to cut him in. As dark as that classic was, Raw Deal is a good deal darker as O'Keefe's world is getting smaller and smaller due to the bad choices he made in life.

With cops and Burr looking for him, Dennis also has himself involved with two women, steady streetwise Claire Trevor and the secretary of his lawyer Marsha Hunt. Both are carrying a big torch for O'Keefe, but Trevor is the jealous sort.

Watching Raw Deal reminded me of a Eugene O'Neill play Strange Interlude where the characters voice over narration tells you their real feelings. That device is used for O'Keefe, Trevor, and Hunt as they express their emotions in the narration. And like any classic O'Neill play there is an inevitability about these people especially O'Keefe.

Before Anthony Mann moved on to westerns and bigger budgets he did some good noir work in the Forties and Raw Deal is a fine example.