Mardi noir

A grim drama consistently going from bad to worse the whole way to the end, but very efficiently told and acted, and Edward G. Robinson makes one of his most interesting characters as the angry gangster who only knows one way of life which is the worst without any room for any human feelings at all. The priest character (Milburn Stone) is very interesting in this context, while Peter Graves as the second worst gangster ultimately takes matters in his own hands and proves himself a hero after all although in a negative way. It's a very efficient getaway and hostage drama which will keep you biting your nails all the way, although you know it can only end in one way, no matter how perfectly they arranged their escape and almost managed it in spite of the inevitable fact in these operations, that something always must go wrong.

A violent con, Vincent Canelli, escapes prison on the night of his execution. With the help of a phony newspaper reporter and Canelli's girlfriend, Hatti, who has planned the escape, the con takes along five hostages: the prison priest, the prison doctor, one of the guards, the young reporter whose place has been taken by one of the gang, and the kidnapped daughter of a guard who was forced to facilitate the escape.

Another inmate, Peter Manning, is taken along because Canelli wants the large amount of stolen money Manning hid before going to jail. He killed someone during the robbery, and refuses to reveal to the authorities where the money is unless his death sentence is changed to a life sentence.

The gang ends up at a hideout, but as they are preparing to flee the country with the loot, they're surrounded by police. Canelli threatens to kill hostages if he's not given safe passage; he shoots and seriously injures one of the hostages, and murders the kidnapped prison guard to make his point.

Prison break/gangster films aren't usually on the top of my watchlist, but Black Tuesday caught my eye, and it's one mean thriller with an unpredictable body count, plenty of gun play, and a fairly tense storyline, especially towards the end. Of course, the one adding the fuel to this little thriller is Edward G. Robinson, who, as mobster Vincent Canelli, has a giant chip on his shoulder and is devoid of any empathy- he's a cold fish, sadistic and incarceration on death row sees him reject morality absolutely and allows him to kill indiscriminately in the name of survival first, and greed second. The others perform excellently, such as Peter Graves, who shows a little remorse. Jean Parker plays Canelli's moll, the one who made the prison break possible.

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.

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 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.