Martes tragico

By Edward G. Robinson's standards the early-mid 1950's marked a low ebb as his 'greylisting' essentially barred him from the major studios but at least enabled him to make 'B' movies for the smaller ones, affectionately known as Poverty Row. This low budget, high body count crime noir, directed by the more than capable Hugo Fregonese, is arguably the best of the bunch and gives this fine actor the type of role in which he traditionally excelled, that of a psychopathic gangster. As written by Sydney Boehm the character of Vince Canelli is utterly monstrous with no redeeming qualities whatsoever and needless to say Robinson is riveting.

Good support from Jean Parker as a gangster's moll and Peter Graves as an unlikely hood whilst Milburn Stone as a priest represents the customary Hollywood 'God' element.

Veteran Stanley Cortez is behind the camera and the taut editing is by Robert Golden who also edited Fregonese's earlier 'The Raid'. Both these films are regarded as this director's best work but sadly, finding further directorial assignments in Hollywood elusive, he packed his bags and moved to Europe.

Although this film is not as graceful as The Wild Bunch, it is still artfully directed and has a clever storyline. In one respect, though, it is the equal of The WIld Bunch for violent content. There is enough violence in this film for two movies. However, one cannot condemn a movie because it is overly violent. Men like these existed (and worse!) and they were even more violent than the Robinson character. While following the fate of men like these is unpleasant at best, one must come to grips with the reality of the lifestyles of hardened criminals. The prison break is a thing of beauty, but the rest of the film cannot possibly keep up with that event. However, the film as a whole is entertaining.

By the 1950's, twenty years after pioneering the crime/gangster genre, Edward G. Robinson was a kind of elder statesman of the subject... although sometimes he'd play good guys, even cops...

But in BLACK TUESDAY he was back in the previous decade's KEY LARGO mode... an antagonist so vile, everyone surrounding him, here in the initial death row prison setting, is good by comparison: making this crfilm very noir...

As the second lead is the second prisoner set to die, and young Peter Graves has a partial heart-of-gold from the get-go, not even wanting to take part in what's a scheming escape liken to a heist, but with humans...

Winding up in a dark warehouse location as all the characters, including the pretty daughter of a slain guard and a kidnapped news reporter, remain for most of the picture, providing Robinson's best scenes to counterbalance with initial yet progressively reluctant partner Graves...

Who, while suffering a near fatal, rehabilitating gunshot wound from the break, juggles desperate soul-searching romance with the good girl (Sylvia Findley) while Robinson's tightly connected with loyal moll Jean Parker...

And, also backed by nasty gunmen Warren Stevens and Russell Johnson, the famous LITTLE CAESAR icon needed more screen-time leading to an overlong second-and-third act standoff - in a b-crimer that could have used more locations despite keeping its thriller template decently throughout.

This little known and little seen Edward G. Robinson film takes Eddie back to the days when he was playing some quite serious gangster roles. Caesar Enrico Bandello and Johnny Rocco don't have a patch on his Vince Canelli in Black Tuesday.

Imagine if Little Caesar or Johnny Rocco being captured and on death row with bank robber Peter Graves both sentenced to die that day. Only Robinson has a very well conceived plan to escape at the last minute. He takes Graves along and the rest of those on that Green Mile, the others to throw confusion and buy time and Graves because Graves has hidden $200,000.00 from his last bank job and Robinson wants to flee the country in style with lots of spending loot.

Graves is no fool either. When he says the money is well hidden and only he can get to it, he's not kidding.

Black Tuesday was shot on a shoestring budget and I'm sure what money they had was spent for a really good supporting cast of familiar faces. Standing out are Warren Stevens as one of the hired guns that helps Robinson crash the joint, Jack Kelly as a cub reporter who is one of many taken hostage and Milburn Stone as the prison padre taken hostage as well.

Both the prison escape scene and the final gun battle are well staged and brutal for the time. The film looks like it's in need of restoration and I hope it gets it.

The "Ghosts" of Iconic Characters/Type Never Really Leave an Actor, but Remain to be Summoned Occasionally, if Need be.

Apparently Edward G. Robinson, Reeling from a Career Downslide, somewhat Linked to His becoming a "Friendly" Witness to the "House Un American Activities" (HUAC), Decided to Call Upon 2 of His Former Glorified On-Screen Characters.

Caesar Enrico 'Rico' Bandello from the Film '"Little Caesar" (1931) and Johnny Rocco from the Film "Key Largo" (1948).

The Result is this "Hidden Gem", a Somewhat Under-Seen and Under-Appreciated Crime-Thriller with Heavy Film-Noir Undertones.

It's a Relentlessly Down-Beat, Brutal Movie about Death-Row Inmates Vincent "King" Canelli (Robinson) and Peter Manning (Peter Graves) Planning and Successfully Pulling-Off an Escape on the Eve of Their Dual Electric-Chair Execution. Other Inmates are also Released and Join-In.

The Movie Pulls-Few-Punches in the Determination to Portray the "King" as a Soul-Less, Maniacal, Killer with No Redeeming Qualities from the Outset and Eddie G. Punches and Guns-Down People Routinely.

Peter Graves, on the Other-Hand is the "Soft" Side of the Criminal Gang. He's Sensitive and Artistic ( building matchstick bridges), but still Maintains a Desperate and Severe Attitude Throughout Most of the Running Time.

There are Probably More Gunshots is the Finale then any other Film Up to that Point. In Fact, the Deafening Sound of the Hail of Bullets is used "Artistically" in 1-Scene to Illustrate and Emphasize.

This is a Sharply-Designed, Dark, Story Told with Cut Angles, Deep Shadows, and Claustrophobic Sets and Hardened Criminals (Male and Female).

It's a Winner, with Solid Grounding in Film-Noir with Threads of that Dark Style Woven Throughout.

Was Hard-to-Find for a While and has Slipped Through the Cracks. Needs to be Rediscovered.

For Noir and Crime Fans it's a...

Must See

For All Others...

Worth a Watch.