Guilty Bystander

Everything is in it: the dark shades, the twists in the plot and the troubles policeman and some ravishing ladies. Totally restored in 2019. A long story, but some gripping scenes in the end.

Zachary Scott is an ex-cop with a bad case of alcoholism. He's a house detective at a sleazy hotel, sleeping one off, when his ex-wife, Faye Emerson wakes him to tell him their son has been kidnapped, his ex-colleagues are sympathetic, but it's up to Scott to track the abductors through the Skid Row world and rescue his son.... and himself.

This movie benefits from a strong, sympathetic story, and location shooting on the low-rent streets of downtown New York. There's a lot of talking, though, for such a usually visual genre, and the performances, while appropriate, are not terribly interesting. Scott and Miss Emerson start out with low-affect performances. Miss Emerson mumbles her lines in a tired and hopeless manner, and Scott spends the first half with subdued reactions. It's how a lot of depressives act, but it's not terribly interesting to watch.

The cast is eked out with some good performers, Mary Boland plays the sort of down-on-heels ex-floozie that Esther Howard usually did for Paramount Noirs, Sam Levene is the police captain who can't help because of the rule book, and J. Edward Bromberg, Kay Medford, and Jed Prouty have memorable roles. The result is a film noir that is highly watchable.

Max Thursday (Zachary Scott) is an alcoholic former cop living in a rundown hotel owned by his friend Smitty. He gets a visit from his ex-wife Georgia. Her brother Fred Mace and their son Jeff are missing. Apparently, Jeff has been kidnapped and Fred is somehow involved.

This is a harsh pulpy noir. Zachary Scott is acting with all his chops. It has the brutality and hard-talk for the standard noir B-movie. The story isn't much but it functions well enough. I like many of the New York City exteriors. They're low rent and outside the normal glamor locations. I would like better for the action but it's still the old style. It's an old noir crime B-movie.

This one checks most of the usual noir boxes and knowing it was shot on shoestring makes it even more impressive. The performances are well above average and the set pieces first rate. Many scenes shot gonzo style without permit in some of the seedier parts of the city. A must see for any fan of noir.

I think what I like about this film is while its structure certainly reeks of noir style, its execution strays from it. There's little sentimentality here; and even in "classic" noir, sentimentality is there if you look hard enough and know when to spot it. This film is like a 180 from that.

For me, it's gritty and grinding. There's a certain, relentless quality to it. There's also a strong sense of dread and drudgery permeating almost every scene. On the outset, it offers virtually no hope for the damned.

I personally found the acting top drawer. Zachary Scott totally surprised me with his consistency and devotion to the role; and Mary Boland delivers the goods wholeheartedly, reminding me of the caliber of Esther Howard's performance in Born To Kill. Fay Emerson's performance was solid but not exemplary.

This is for die-hard noir fans only. A small majority will focus on its flaws; the rest of us will revel in its restored--literally--glory. Get over the ending upfront.