Le tueur s'est évadé

Although Andrew Sarris italicized it in the list of Boetticher's films in The American Cinema (meaning he recognized it as one of the more notable films on the list), I've never run across any critical comment on this film. Nevertheless, it's a real discovery-- imagine Cape Fear with Wally Cox in the Mitchum role and you get some idea. Corey (who usually played stiff bureaucrats and cops himself) gets the role of his life as a mild-mannered clerk turned crook who becomes unhinged and escapes with the plan to kill the cop who sent him up. What's creepy about him is that, like Norman Bates, he never even raises his voice-- and like Norman Bates, eventually he winds up in a dress (oh, it seems logical enough as a disguise, but it introduces an unmistakable air of sexual confusion and perversity into the violent climax that catapults the film into Fullerian ranks of psychosexual luridness). And if you want to know what Brian dePalma's been trying to do all these years with movies like Blow Out and Snake Eyes, just watch how effortlessly Boetticher plays out the climax over walkie-talkies (a sequence to rival Touch of Evil).

Budd Boetticher was getting his "Director's Day" salute on TCM when I watched this little known thriller starring Joseph COTTEN, RHONDA FLEMING and WENDELL COREY.

It's Corey who walks off with the film in what is really the central role as a crazed killer, angry when detective Cotten and his police officers accidentally kill his wife when trying to get him. He vows revenge when he's found guilty of a bank robbery where he was an accomplice, and the rest of the tale involves vengeance and a final comeuppance for Corey.

Joseph COTTEN gives only a middling performance, almost phoning in his job as though he knows his colorless role isn't worth much effort. The same for RHONDA FLEMING as his selfish wife, whose sole contribution is a shapely figure and a pretty face obviously ready for many a close-up.

What raises this above the level of an average B-film is Corey's nuanced performance as a nerdy man who appears almost sympathetic at times and chillingly ruthless when crossed. JOHN LARCH is especially good as an ex service buddy who used to taunt him for his lack of skill with a rifle. It's Corey's work in the film that puts it into a higher category and makes it a psychological crime melodrama worth watching.

Budd Boetticher's no-nonsense approach delivers a solid bit of film-making that lasts a mere one hour and thirteen minutes.

Note: The lower case for the name Joseph is either the fault of my keyboard or IMDb--I've been capitalizing it but it comes out each time as lower case for some unknown reason.

Watching "A Killer is Loose" it's not hard to see how Budd Boetticher garnered a reputation as one of the top B movie directors. With the limited resources allotted to the makers of B movies, not to mention the casting of often second rate actors, a lot of skill went into creating the few B movies which have endured.

Boetticher gets good performances from leads Joseph Cotton and Wendell Corey (not strictly B movie actors) as well a surprisingly convincing Rhonda Fleming. The work of veteran cinematographer Lucien Ballard contributes much to the success of this taut, well written thriller.

While not a classic, its remains a fine example of its genre and worth a look.

Two twists change this movie from what you expect to something else completely. In fact, the title doesn't even seem to match the plot, until those twists transpire. Then it hits its stride with a sense of lingering dread hanging over the proceedings, even when the antagonist is not on screen; actually it seems their absence simply serves to ramp up the tension - such is the skill with which this is directed and shot. Rhonda Fleming gives her usual slightly overwrought performance but it works for this movie as she senses the dangers others around her don't . Surprisingly, many scenes are written in far more depth and are acted with way more seriousness and earnestness (by Joseph Cotten and Wendell Corey) than they have any right to be in just a B-movie - but it works to add depth and empathy. Even the "killer" is not two-dimensional but seems plagued by doubts and confusion - all the while being quietly menacing, disturbing, and on the edge of an outburst of violence at any moment. There are touches of pathos, taut high-wire tension, intrigue and action - with at least one very memorable scene that still flashes in my mind - that make this a very worthy watch. Fans of Hitchcock will also enjoy the hints of perversion and cynicism - and some other key elements which that particular auteur would find appealing. A minor gem.

During a shootout with the police, Leon "Foggy" Poole (Wendell Corey) loses his wife in the hail of bullets. Captured and imprisoned, Poole bides his time until making good his escape. He then sets out to find the man he holds responsible for his wife's death.

Now, Detective Sam Wagner (Joseph Cotten) must protect himself and his pregnant wife Lila (Rhonda Fleming) from the vengeful Corey.

THE KILLER IS LOOSE is a wonderful crime thriller with lots of tension and a memorable finale. Cotten is his usual, dependable self. His Det. Wagner -somewhat- foreshadows Gregory Peck's Sam Bowden character in CAPE FEAR.

One thing that sets this movie apart from other, similar films is the quiet, low-key demeanor of the bespectacled antagonist. Corey underplays the role, making Poole far more frightening than he would have been as some raving maniac!

Highly recommended...