Haines

Tightly paced social problem programmer is well directed by Losey. Carey was never the strongest of leading men and perhaps the film would have been better served by an actor with more gravitas in the lead but he turns in an acceptable performance. Gail Russell is fine in the limited screen time she has but her role isn't really noteworthy. The person who is underutilized is Lee Patrick as an out of town reporter, whenever she's on screen the other actors recede into the background so sharp is her presence, the mark of a truly outstanding supporting performer. The story is sadly relevant even today, how people can be swayed by mob rule and unreasoning prejudice.

Plot-- A normal American farming town is split racially apart as a Latino boy is blamed for a number of offenses against town whites. In the process, the town newspaper only makes the situation worse as the new publisher shies away from digging out facts that might relieve the situation.

There were a number of social-conscience movies made in the late-40's and early-50's; that is, before the Cold War and McCarthy froze them out. This is one of them, more obscure, however, than most. Though the 83-minutes contains elements of first-rate expose, it fails to rank among the best of that period, e.g. The Well (1951), Lost Boundaries (1949), No Way Out (1950). Now, I'm not saying it's not a good or worthwhile movie of its kind. On the contrary, it is. However, I don't think it' as memorable as the best of the period, and that's surprising given the film's outstanding writer (Mainwaring) and director (Losey).

What I think the results lack most noticeably is an intense core. Usually this is supplied by a cast principal. Here, however, the concept of publisher Wilder (Carey) is much too laid-back to supply the needed intensity. His flaw in the face of community conflict is not greed or power, but apathetic retreat after a lifetime of hard-driving journalism. Apathy is a good point to make since it allows the racial rivalry to worsen. Given the overall lack of an intense core, however, the concept comes at a price. At the same time, it's hard to see how Carey's Wilder could ever have been intense. Then too, there's Gail Russell's educated Hispanic, who could be a forceful voice for her community. But she's more a pretty presence than a factor. I'm not sure whether her retreat lies with the writer, director, or actress, or a combination thereof. However, coupling her with the laid-back Wilder creates a soft center that fails to catalyze the more incendiary elements and weakens the film as a whole. Even the angry mob provides more spectacle than either needed fear or tension.

On the positive side is a fine performance by Maurice Jara as Lopo, the hapless victim of circumstances. His anguish really comes across during the breakdown scene as the posse closes in. And I certainly agree with the reviewer who singles out Lee Patrick's sharp performance as the ethically challenged reporter Jan Dawson. It's really she who shows a seedy side of journalism by sacrificing facts for increased circulation. And catch perennial villain John Hoyt cast against type as a wealthy liberal (Ferguson) who does what he can to dampen animosities. Note too how his upper-class standing finesses class issues that might otherwise become a factor.

There are a number of topical touches that make the movie still relevant to today's audiences. Note how one of the cops roughs up Lopo with apparent impunity, though the script turns suddenly cautious by having another cop reprimand him. Note too, how whites and Latinos mix amicably at the dance, until hot-headed teens start defending their honor. The suggestion here is that it is possible for racial groups to get along socially, despite adversities. And speaking of teens, bobby-sox idol Johnny Sands is featured as hot-headed Joe Ferguson, ever ready to make a bad situation worse. Still, I can hear even now the girls of the time swooning over him.

The movie gets a big leg up by filming on location, especially in seedy surroundings that reflect rural hard work. I don't know where they went for those miles and miles of rolling rock mounds, but they're like frozen ocean waves. Plus, they aptly symbolize the desolate situation Lopo finds himself in. Given the movie's many outstanding features, I'm just sorry they don't get the cohesive impact needed to lift results into the front rank of social protest films. Nonetheless, the production is still well worth catching up with despite the relative obscurity.

Santa Marta is a small agricultural town in California. Mexicans are the fruit pickers and there is tension between the races. Paul Rodriguez and his friend Lopo Chavez are pickers. They get into a car accident and fight with a couple of local white boys. The two locals keep a grudge and spread discontent. Paul's friend Sunny Garcia works at a small Spanish-language newspaper. She meets Larry Wilder at a dance. He's the new editor of the bigger white newspaper. A fight breaks out at the dance and an unscrupulous reporter builds it up to be a riot. Paul steals an ice cream truck and becomes a fugitive after a series of incidents.

This is trying to tackle the theme of ingrained racism. It's interesting that there are differing elements within the community, both good and bad. The initial meeting with a cop is an interesting one. It's a little shocking to have a good cop dealing with these kids like human beings. There are good cops and bad cops. There are good parents and bad parents. Even the lead character is not an ally for most of the movie until he turns into a hero. The movie is not doing the easy hit. More than anything, it shows how irresponsible media can fire up the baser instincts. The movie is showing how civility can be easily lost and the ugliness bubble up.

When commenting about "The Lawless" (from 1950) - I know one thing for certain - It's very rare to come across a Hollywood production from that one's era that actually dared to make such a bold and adverse statement regarding serious racial discrimination in "Smalltown, USA".

Set in and around the seemingly quiet town of Santa Marta, California - "The Lawless" was certainly a tough, little social drama (once things finally got cooking) that clearly pitted the privileged whites against the "near-poverty-level" Mexican fruit-pickers of Sleepy Hollow.

I think it's interesting to note that this low-budget production was one of the very last Hollywood pictures to be directed by Joseph Losey.

In 1951 Losey was, indeed, blacklisted (for his apparent Communist ties). And with his directing career in Tinseltown now completely ruined by those self-righteous witch-hunters - He had fled to Europe where he attempted to continue his present occupation over there.

..And some of those "B"s are far better than some of the "A"s of today. Macdonald Carey is at his best here as an editor who slowly becomes involved in the conditions and prejudices against the California fruit pickers. this movie is way ahead of its time in how it depicts a small city in the grip of discrimination and fear. Gail Russell, though never a great lead, is luminous here and utterly convincing as Mac's opposite - the editor or a Mexican newspaper. I was completely caught up in and the ending is quite nerve-wracking, you cannot predict which way it is going to go. The supporting cast is also terrific and the crowd scenes and slow panning action for the dance in the country and the street scenes is amazing. I understand the director was a victim of the McCarthy witchhunt and lived out his days in England where he directed "Dirk Bogarde" in "the Servant" another great movie. Highly recommended, an 8 out of 10.