Témoin de la dernière heure

A gang of well-dressed armed robbers, unimaginatively dubbed the Tri-State Outfit by police, go on a crime spree across three states. The opening bit with the real governors of Virginia, Maryland, and North Carolina giving speeches about law & order will have you rolling your eyes. But stay with this one because it does get better. Steve Cochran is great as the cold-blooded leader of the gang. Robert Webber, Wally Cassell, and Richard Egan are among the other familiar faces in the cast. Lovely actresses Virginia Grey, Gaby André, and Aline Towne pretty things up as molls. Grey's character is a radio junkie, which leads to some funny moments. I liked the location scenery and the cars, fashions, and architecture of the period. It's a well-paced B crime picture with lots of grit and some atmosphere. Cheesy at times and never anything deep but it is solid entertainment. Were it not for the corny "crime does not pay" messages, this one would probably be more well-known and liked.

A criminal gang gains a cross-state reputation for big-time robberies.

Looks like Warner Bros. was trying to repeat the success of White Heat (1949) from the year before. This movie's got plenty of action, plus snarling bad guy Cochran, and a capable cast even if stuck in one-dimensional roles. All in all, it's a decent slice of thick-ear, but a long way from a classic like Heat. Trouble here is that the staging goes from location style realism in the first half to studio bound noir in the second, a rather awkward adjustment. On one hand, I suspect the first half was to underline the prologue of the three state governors. On the other, noir is clearly artifice and calls attention to mood as well as story.

Then too, French import Andre's role grafts on like a studio effort at career promotion. She does okay, but the role is like an add-on. And dare I say it, but the climax is way overdrawn, as if they're intent on milking the situation dry. After all, impact doesn't have to depend on length. None of this is to deny the many moments of real suspense that dot the movie as a whole. I especially like the cat and mouse between cop Ryan and gang girl Grey. It's a peach of acting and scripting.

It's also probably worth noting that the epilogue is harshly law and order, at a time when Hollywood's social direction was largely reformist, e.g. Caged (1950), Riot in Cell Block 11 (1953). Anyway, if you don't mind your gunfire and melodramatics slathered on, this is a movie to catch.

Highway 301 is written and directed by Andrew L. Stone. It stars Steve Cochran, Virginia Grey, Gaby André and Edmond Ryan. Music is by William Lava and photography by Carl Guthrie. Story is based on a real gang of robbers known as The Tri-State Gang, who terrorised and thieved in North Carolina, Virginia and Maryland. Plot chronicles their activities and the pursuit of them by the authorities.

It opens with a trio of state governors cringe worthily pumping up the hard sell, for what we know is going to be a "crime doesn't not pay" message movie. I half expected the Star Spangled Banner to come booming out the speakers and an FBI version of Uncle Sam to flash on the screen telling us to come join the Crime Stoppers! Thankfully, once the cringe stops the film kicks in with a ruthless bank robbery and never looks back from that moment.

Led by cold blooded George Legenza (Cochran), this gang don't wear masks, they are ruthless but not beyond error, and tagging along are molls who are either oblivious to the gang's activities - fully complicit - or ignorant. It's a pressure cooker dynamic and as we soon find out, women are not going to be treated well here at all, if they are in the way or a threat to safety, they will cop it. Highway 301 is a violent film with some cold characterisations, and there may even be a subtle homosexual relationship between two of the gang members.

Andrew Stone's direction is tight and in tune with the jagged edges of his characters, with barely a filler shot used in the whole running time, while his scene structure for dramatic impacts work very well. Refreshingly there are no cheat cut-aways either. His cast are on form, with Cochran looming large with an intense and thoroughly dislikable portrayal leading the way, while Guthrie photographs with shadows prominent and a couple of night time street scenes that are visually noirish. Unfortunately Stone's screenplay hasn't the time to put depth into the principal players, the gang are bad and greedy, the women scratching around for purpose or brains, but that's all we know. It's the one flaw in an otherwise great crime movie. 8/10

I saw this very exciting and fast paced gangster movie over 50 years ago and remember it fondly to this very day. I even remember the theater I saw it in on a Saturday matinée. It kept me on the edge of my seat from beginning to end and the action never lets up. It's a classic Steve Cochran performance. A real bad apple with no redeeming qualities. Andrew L. Stone directed which is really no surprise because he specialized in action and suspense films which don't allow the viewer to take a deep breath such as the Last Voyage, Cry Terror and Blueprint for Murder. This is the kind of cops and robbers film that they don't make any more.

After ten years directing musicals and comedies, Andrew Stone with 'Highway 301' turned to making the thrillers for which he remains most fondly remembered. The distinctive 'documentary' style of his later films like 'The Steel Trap' (1952) and 'The Last Voyage' (1960) - using natural sound and authentic locations - is hinted at in the opening robbery sequence, but much that follows resembles a conventional studio-shot gangster film.

In their enormous, immaculate suits Steve Cochran and the rest of his gang at all times look as if they're about to go to a wedding in those big black cars they're driving. Described by Bosley Crowther at the time as "a straight exercise in low sadism", its a far more brutal film than Stone's later thrillers, which tend to take a more benign view of humanity and have more upbeat endings.