One Way Street

One Way Street opens beautifully. Sirens shriek through the Los Angeles nightscape while, from the window of an apartment building, an elegant woman (Marta Toren) smokes as she watches them disappear. She reports her observations to Dan Duryea, who has just masterminded a big heist. One of his lieutenants (William Conrad), however, has taken a bullet, which gang-sawbones James Mason is summoned to extract. He does so, meanwhile launching a ploy by which he departs not only with all the loot but with Toren – Duryea's moll. Although fate almost deflects their escape, they finally cross the border to Mexico.

And here the movie settles in for a long siesta. Mason and Toren find themselves in a primitive village where Mason's medical skills are pressed into service (he cures a horse but can't save a little girl). There's plenty of warmed-over wisdom issuing from an itinerant priest (Basil Ruysdael) and plenty of danger from bandidos who keep cropping up, swigging mezcal while wiping their lips with the backs of their hands and eying Toren up, down and sideways. Despite these distractions, she seems to like it there and wants to stay, but Mason wants to press on to Mexico City (and their divergent goals and low-key temperaments serve to keep the romance distinctly cool).

This snooze is interrupted a couple of times by cuts back to Los Angeles, where Duryea and Conrad are bent on recouping the money – and on revenge. But only when Mason returns to have a face-to-face reckoning with Duryea does the movie spring back to life. And in a rhyme of its earlier, unexpected intervention, fate proves that it always has the last word.

One Way Street was the first feature in English by the Argentinian-born director Hugo Fregonese, who stayed in Hollywood long enough to churn out a few westerns and genre-pictures (Man In The Attic, one of the many versions of The Lodger was his work). From the bookends that open and close One Way Street, he had a feel for the look and pace of film noir, but the thick volume of Mexican folklore they surround turns out to be a not very film-worthy property.

### Movie Review: "One Way Street"

**By Edward Sterling**

Stepping into the cinema to watch Universal-International's latest production, "One Way Street," directed by Hugo Fregonese, feels like navigating the winding alleys of a noir-soaked labyrinth. This film, rich with the shadowy ambience of crime and retribution, anchors itself in the gritty reality of betrayal and the quest for redemption.

James Mason, delivering a performance both enigmatic and compelling, plays Dr. Frank Matson, a man whose veneer of calm conceals a maelstrom of desperation. Mason's portrayal captures the quintessential anti-hero, a character teetering on the precipice of moral ambiguity, pulling the audience into his tumultuous journey.

Supporting Mason, the luminous Märta Torén as Laura provides a stark contrast to the film's darker themes. Her character, though ensnared in the web of crime, emanates a glimmer of hope and humanity. Torén's portrayal brings an emotional depth that softens the otherwise relentless tension.

Dan Duryea, portraying the menacing mob boss, adds to the film's sinister undercurrent. Duryea's ability to infuse his character with a chilling sense of unpredictability keeps viewers on edge, embodying the palpable threat that looms over Matson's attempt at escape.

Fregonese's direction, paired with Irving Glassberg's evocative cinematography, masterfully captures the essence of noir. The interplay of light and shadow creates a visual symphony that underscores the film's central themes of conflict and resolution. The searing landscapes of Mexico, where much of the film unfolds, provide a stark, almost surreal backdrop to Matson's flight from his past.

"One Way Street" excels in its pacing, maintaining a relentless drive that mirrors Matson's own urgency. Frank Skinner's score punctuates the film's tense moments, heightening the sense of impending danger and the fragile hope of salvation.

However, while the film triumphs in many aspects, it does not escape certain clichés inherent to the genre. The storyline, though gripping, treads familiar paths, and at times, the dialogue slips into predictable tropes. Despite these minor shortcomings, the film's strengths lie in its atmospheric tension and the robust performances of its leads.

In a year where the silver screen has been graced with a multitude of crime dramas, "One Way Street" stands out as a testament to the enduring allure of the noir genre. It is a journey worth taking, a descent into the dark heart of humanity that ultimately suggests that redemption, though elusive, is not entirely out of reach.

In conclusion, "One Way Street" is a cinematic venture that, despite its occasional foray into the well-trodden, captivates and compels with its stark visuals, strong performances, and an unflinching gaze into the shadowy corners of the human psyche. It is, without a doubt, a notable addition to the noir canon of 1950.

This movie was a joy to watch and James Mason really shines in his role as well as Dan Duryea, and William Conrad. I loved every minute until the very end which to me was so senseless. I won't give it away but this film would have been a ten out of ten had it not been for this mistake. It is still a very entertaining film.

In the Citadel Film series book on The Films Of James Mason, Mason himself said that he was never told by viewers that they saw this film or was ever questioned about it. I guess that One Way Street might be overlooked in the big budget films that would shortly follow in his career. That's a pity because this one is a good, but fatalistic noir film, something along the lines of Odd Man Out.

In One Way Street Mason is a doctor whose practice is on the wrong side of the law, patching up criminals and not reporting about it. We're never told brought him to this because no one starts this way in the field of medicine.

While on a house call to Dan Duryea's mob after they've pulled a heist, Duryea rides Mason once too often and through a rather ingenious bluff he winds up stealing the loot from a robbery the gang just pulled off. Not only that, he winds up stealing Marta Toren away from Duryea so Dan has two reasons for going after him.

Mason and Toren have to land in a remote village in Mexico when the plane they've chartered develops engine trouble. Even a defrocked doctor is welcome among these people where Mason and Toren settle and start to enjoy life a little, but life and the past do catch up.

Duryea's henchmen include William Conrad, King Donovan, and Jack Elam who are as scurvy a lot as you'll find. Basil Ruysdael who is always an authority figure of some kind is fine as the local priest at the village where Mason and Toren are staying. Look fast or you'll miss Rock Hudson in a bit role as a truckdriver with one line in the film.

Marta Toren who hoped to succeed both Greta Garbo and Ingrid Bergman as a cinema sensation from Sweden died tragically young. She never broke into A pictures in America, but she was for me one of the most beautiful women the big screen ever saw.

If your genre is noir you cannot go wrong with One Way Street.

When the film begins, a bitter doctor (James Mason) is helping out an injured man who is the member of a mob gang. He isn't doing this out of any sense of duty...he wants money and the mob has plenty after pulling off their latest caper. However, in a surprise twist, the Doc steals their $200,000...as well as the gangster boss' girlfriend! The pair run south to Mexico...and you know the crazed boss (Dan Duryea) will eventually come running after them.

In the meantime, the couple get stranded in the middle of no where in a small town after their airplane develops engine trouble. After a while, the pair grow to like the place and the bitter doctor eventually finds he's a beloved and important part of the the community. They also begin to care for each other. But, as I already mentioned, the gang boss isn't about to let the pair have a happy ending if he can help it! And the Doc considers returning the money with the hope that the evil boss will just let them go.

With gang members like Duryea, William Conrad and Jack Elam, the casting director did a nice job in picking up some nasty and menacing folks to play the baddies. The script and acting are also quite nice. What I also appreciated was that the film was tough and when the two characters became nicer...they still had a hard edge and weren't over-idealistically good. Entertaining from start to finish and well worth seeing if you love film noir.