The Lawless

Today is so easy touch in this neuralgic matter at southwest American territory when it were fulfilled by Mexican's family workers who crossed the border to living into self-called American dream of life, on post war on fifties all America were in economic boom, needing those hard workers on the crops due strong demand, they living segregated on peripheral low profile neighborhoods, as shows at Sleepy Hollow community, even they were born on the American soil weren't recognized as such.

Joseph Losey has a never to put it on a picture, aside it doesn't has a great cinematography, the story overcame it on plenty, exposes on hard way a sad story about a teenager Paul Rodriguez (Lalo Rios) a son of Mexican immigrants that was born at America, after a small car's accident at street with his friend coming from an exhaustive working day picking tomatoes on the fields, the victims are two white fancy boys, followed a little quarrel stopped at once for the Police, later it's triggers a tragic events, these white boys going to at Sleepy Hollow's dancing party looking for trouble, soon starts a scuffle between them, the localo police intervenes quickly, on the thuggery Paul punchs accidentally a police officer, seeing the mistake the scared boy sneaks there, the policeman follows him, the boy stolen two cars on the run and hiding in a quarry.

Meanwhile appears there a newspaper's editor Larry Wilder (MacDonald Carey) who witnessed the scuffle, in same time a strong police squad arrives, Larry figures out the boy certainly will killed by those angry men, he finds the boy cornered at mainstay of river's bridge, under massive gunshots, under police's hands another arguing in the police car results in a crash, under the fire once more the boy escapes and try hidden in farm where a little girl hits her head at timber beam, later she misinform struck by the boy, at last the boy is caught.

Larry Wilder aided by a Mexican newspaper Sunny Garcia (Gail Russell) looking around and testifying the massacre of the news, television, radio broadcasting already blaming the boy without any fair judgment, he employs a fundraising campaign through his newspaper in order to pay the best defense attorney allowed on Santa Martha, it's unleash a riot on his newspaper tearing up the place and also at police precinct to get the boy to make justice for their own hands.

Apart the small budge presentation the movie rocks, in a period of time utterly impossible to talk about in this issue, it's an independent movie implied by the bold Losey with fortitude, thus he enters in the blacklist soon, pay attention on Martha Hyer on smallest role, almost in a twinkling of one eye, the upcoming Goddess of the cinema.

Thanks for reading.

Resume: First watch: 2021 / How many: 1 / Source: DVD / Rating: 7.5.

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.

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.

..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.

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.