À deux pas de l'enfer

Towards the end of Short Cut to Hell, with the two principal characters holed up in an abandoned underground storage bunker and the police cars massed outside, there's a long quotation from the doom-freighted score Miklos Rosza wrote for Double Indemnity. It's one of several arresting details the movie provides (another is a newspaper from the previous decade, with the headline 'Allies Cross Siegfried Line'), details that pique interest but go nowhere in attempting to satisfy curiosity.

Short Cut to Hell is an all but forgotten movie but a noteworthy one nonetheless, if only as the only title James Cagney ever directed. Night of the Hunter it's not (the sole directorial effort of Charles Laughton), but another point of engagement is in its being a remake of the 1942 Alan Ladd/Veronica Lake vehicle This Gun for Hire, drawn from the Graham Greene 'entertainment' of that name.

The Ladd/Lake allure didn't last into a new millennium (who knew?), but in 1957 both of them were still reasonably active, their less than glamorous (all right, alcoholic) endgames still a few years, or decades, off. Cagney chose to update them using actors without much in the way of either past or future.

In the Ladd role of the icy, isolated killer-for-hire, Robert Ivers is little more than a trenchcoat and a topper, skin and bones, who brings to mind an unlikely amalgam of Elisha Cook Jr. and James Dean. Finding himself set up through marked bills, after carrying out the two brutal murders contracted by pompous 'fatso' (Jacques Aubuchon, whose indulgences are pretty young things and peppermint patties), he eludes police, taking as hostage Georgann Johnson, a lounge singer engaged to police detective William Bishop.

Johnson proves a game gal, but in the wrong way. She has a way with a wisecrack, but it's not in the flirtatious Veronica Lake way (nor that of Lauren Bacall or Gloria Grahame); the spin she gives is more in the Eve Arden-ish, vinegar-virgin mode, less seductive than matey, even matronly. So the chemistry between captor and captive (our old friend The Stockholm Syndrome) rarely reaches reactive force. (Nor, for that matter, do the reactions between Johnson and Bishop.)

Notwithstanding its unknown cast, Short Cut to Hell doesn't have the look or feel of a B-movie, and Cagney keeps a good pace and an acceptable amount of tension (a few quite brutal scenes help to quicken the pulse as well). It's not quite clear why Cagney chose this material to direct, and he makes (or had to accept) some less than ideal choices, but he'd worked in movies long enough to insure that the movie he directed was brisk and absorbing, a better little movie than its obscurity might suggest.

This is the only film James Cagney directed, and for a first-time effort, this remake of THIS GUN FOR HIRE is not too shabby. Cagney supposedly made the film as a favor to producer A.C. Lyles, and he did not really intend to pursue a career as a director. While it may not be up to the original, the film still has a good deal of Cagney-esque energy, and enough suspense to sustain viewer interest.

Actress Georgann Johnson is cast in the Veronica Lake role, and she applies a serious amount of realism. At one point, she has to walk down the aisle of a train, and she does it very subtly as if her equilibrium is off-balance, which if you think about it, it should be. How come other actors do not walk realistically on trains, planes and other fast-moving transportation in movies? Maybe they should consult Miss Johnson for pointers.

Peppermint-loving Jacques Aubuchon hires Robert Ivers to kill a couple of people, then pays him off with hot money. So Ivers boards the train to track down the guy who stiffed him. Seated next to Georgann Johnson, a singer who's heading to LA to work ina night club, he lifts a five-dollar bill from her. She catches it and demands her money back, then notices how hungry he is and splits a sandwich with him. Aubuchon is on the train, sees Iver, and calls the cops. Ivers forces Miss Johnson off the train with him, but they part company.... although their paths will soon cross again.

How did Jimmy Cagney come to make his sole movie as director with this remake of 1942's THIS GUN FOR HIRE? Good friend A. C. Lyles was producing it as his first picture and asked him to. It's not particularly distinguished, but then, neither was the first screen version. It's much more open in its sexuality, with a long moving shot focused on Yvette Vickers' rear as she sashays around Ivers' flop. Everyone is good, but no one is great, and lightning didn't strike the way it did with the first movie.

Story about an antisocial hired killer who goes after an employer who double crosses him. While tracking down the men who hired him he gets involved with the female lead a night club singer on her way to Los Angeles. In the end revenge is extracted.

It is fast paced and keeps your interest especially the first hour. When the action moves to LA it starts to bog down a bit and get a little squirrelly. There is a long scene in an air raid shelter of some huge giant factory that is completely implausible...dozens of police scour the plant for hours but overlook an obvious staircase to the airraid shelter??

Still it is worth a watch I give it a 6.

The other reviews are by people much more knowledgeable about the actors and period than I...am reviewing it as a naive uninformed viewer.

RECOMMEND

Robert Ivers and Georgeann Johnson never quite had the careers that were predicted for them in the introduction to this film by their director. But both give a reasonably competent road show adaption of the Paramount classic This Gun For Hire. Short Cut To Hell also stars William Bishop in the role of the San Francisco cop played originally by Robert Preston who is on the trail to Los Angeles looking for a killer.

The whole wartime angle in This Gun For Hire is dropped for this 1957 film. Instead it's a contract killing of civil servant Peter Baldwin who is about to expose some shady dealings in building contracting. But as in the original he's paid off in hot money from a faked robbery with serial numbers duly recorded and reported to the police.

For the most part the film follows the plot of This Gun For Hire even using a lot of the same lines. Jacques Aubuchon plays the Laird Cregar part of the fixer and he has the same aversion against seeing any of the violence he pays for.

A.C. Lyles who later became famous for producing all those B westerns with past their prime players produced this film and got none other than James Cagney to direct it in his only credit in that department. Cagney never went behind the camera again.

But I doubt even with the original cast of This Gun For Hire that he could have improved on what Frank Tuttle did in 1942.