Outside the Wall

The story begins at Eastern State Penitentiary, an ancient prison that was shut down in 1971. It's an interesting place you can tour to this day...something you might want to do if you visit Philadelphia.

As to the story itself, it seems that Larry (Richard Basehart) has been incarcerated since he was only 14. Now, after living about half his life behind bars, he's learned that he's received a pardon and will be released. However, Larry has a really difficult time adjusting to life outside prison and you wonder if he'll soon commit some crime just to get back to the routine he's become so used to experiencing.

Before this cane happen, Larry's job offers him a chance to either get rich or go back to stir. A con he recognizes has been brought in to the hospital where Larry works and the guy apparently was part of some armored car robbery...and he was never caught and the money is still in hiding. Soon 'friends' of this con approach Larry and they want him to join up. Will Larry go the straight and narrow or give it all up for a familiar life of crime?

This movie is exceptional in many ways. The script is intelligent and well constructed. It gives an unusual insight into the plight of ex-cons and their difficulties adjusting to real life. It also is very tense and filled with bad people and a real femme fatale. Basehart is also excellent...and his forte was playing in film noir movies. Overall, a surprisingly good movie...one crime film buffs should really enjoy.

From acne ridden adolescent, to hardened thirty year old, Richard Basehart has known only reform school and prison. He is a world leader on the workings of the criminal mind and on survival in the most iniquitous of company. He is also an abject novice on coping with an ever changing modern society, characterized by high rise buildings, fast cars, noisy, bustling city streets and rapidly advancing automation. Utterly naive about girls and alcohol. RESULT: Overpowering two armed robbers? - Piece of cake. Crossing the road?.......Nightmare!

Despite brittle, awkward social skills, Basehart puts his best foot forward, landing a steady, responsible job at a sanatorium and with some cheery colleagues there is genuine cause for optimism, until he falls foul of feeble, fast fading felon, John Hoyt, wheeled in as a patient. Suddenly, Basehart is teetering on the brink. Facing a dilemma. The lure of big, but dirty money and with a high maintenance girlfriend in tow, will the temptation prove too great?

On one level, this is just a neat little crime flick, about a man who has served his time, is eager to go straight, but finds himself compromised as much by the corruption of the outside world, as by demons from his past.

Alternatively it stands as a stark polemic on a woefully inadequate, not fit for purpose system, failing miserably to support ex-criminals as they desperately seek to adjust and find fulfillment in life, outside the wall.

Not RIOT IN CELL BLOCK 11 nor BRUTE FORCE, nor THE LAST MILE either. But it is actually a movie about an ex jail bird who was condemned for manslaughter, and who, after his release from prison, encounters many issues. Nothing really exciting, but it is an Universal crime drama, rather hard to find, and Richard Basehart is an actor who is always interesting to see in a movie, especially a thriller. The funny thing is that after this one - OUTSIDE THE WALL - director Crane Wilbur will give us INSIDE THE WALLS OF FOLSOM, and I don't even speak of his CANON CITY, made before this one. Also both prison break plots. Good little noir, pretty much enjoyable.

Larry Nelson (Richard Basehart) is a 29 year old convict who wins his plea for a pardon. But "outside the wall" freedom is initially not so sweet. He was in a reform school at 14 - he describes himself as an incorrigible hood at that age - and when a guard who dislikes him hits him, he hits him back, the guard falls and dies, and Larry is convicted of murder but given life in prison instead of death because of his young age. So he is free with 672 dollars he has earned over the course of his imprisonment (that would be about 12 thousand dollars now), but he has never been on a date, never taken a drink, never driven a car or learned how, never applied for a real job. After a couple of days of bad experiences in the city, he hits the road and "tramps it" to a small town and gets a job as a lab assistant in a hospital for TB patients, hoping just to keep his head down and stay out of trouble. On the way to the small town, he reads about a one million dollar robbery in which three of the robbers were killed and three armored car guards were killed. Two robbers escaped.

And then one of the robbers shows up at the rest home with a bad case of TB. Larry recognizes him from his time in prison, but true to the prison code, tells him he will not rat him out. The robber asks him to help him get some of the robbery loot to his wife in Philadelphia. Larry refuses to help. At first. But then he starts pining for a nurse who is money hungry bad news, and he thinks that some of the robber's money will win her affection, so he agrees to help the ailing robber. Complications ensue.

I would normally be annoyed by somebody who makes the obviously bad and even stupid choices that Larry Nelson makes in this film, figuring that any intelligent 30 year old should know better than to trust such a greedy woman as the nurse he lusts after or the murderous robber who wants his help. But then, Larry Nelson experientially is 14, not 30. Thus he makes the mistakes that any 14 year old would make in the same situation. But he learns fast.

This was really a great part for Basehart. I believe him as the hardened con and I believe him as the naive teenager in a 30 year old body. If you want to see Basehart in another film where he practically has a dual role, watch "Tension". But by all means do see this, as it has suspense, noirish undertones, and a great performance by Basehart.

In the Hollywood of late '40s and early '50s, Richard Basehart found plenty of work in the noir cycle but never made a major mark, the mark of a Robert Mitchum or Glenn Ford or even a Dick Powell. His good looks were all-American bland - lackluster - and his acting rarely leapt to dangerous voltages. Probably more at home on stage than on the pitiless screen, he leaves one of his fullest performances in a shunted-aside noir, Outside The Wall.

Just 30 but with 15 years in stir behind him (he'd caused the death of an abusive guard when he was just a kid in reform school), he secures an unexpected release from prison. An old lifer grumbles about life outside: `Everybody's got the jitters. A buck ain't worth a buck anymore.' But mo st of all he warns about the `dames,' of whom Basehart knows absolutely nothing. He'll soon find out.

In his first night in Philadelphia, a B-girl feeds him his first taste of liquor and tries to filch his wallet; later, washing dishes, he foils a stickup and, fed up with Brotherly Love, heads for the clean country of Jewel Lake, landing a job as a lab technician at a TB sanitarium. His first patient (John Hoyt) turns out to be an ex-con he knows who's just pulled a fatal armored-car robbery. When Basehart fails to blow the whistle, the dying Hoyt trusts him enough to mule payoff money to his avaricious wife (Signe Hasso).

The straight-arrow Basehart normally wouldn't dirty his hands, but the blonde and mercenary charms of nurse Marilyn Maxwell lead him to rethink his monkish life (`I just found out what money can buy,' he tells her, forking over a platinum bracelet in his new roadster). Still, his stirring conscience beckons him to fess up about his past to good-gal Dorothy Hart. But Hoyt has the means to hold him to his bargain, while his wife and her ruthless accomplices have their own plans for him....

Crane Wilbur, who started way back in the silent era, wrote several noirs and directed a few of them, mostly about prison life (Canon City, The Story of Molly X). Here, he directs his story with some nicely observed vignettes about the dislocation awaiting released felons but, as it advances, less than persuasive plotting. But, in addition to the convincing work he coaxes from Basehart, he assembles a solid cast, with Maxwell and Hasso rivaling one another in duplicity and Hart more appealing than the saintly simp she might have been.

Harry Morgan also appears, as a thug who elicits information by sliding scalpels under fingernails. Interestingly a veteran of even more noirs than Basehart, Morgan played the heavy the year before, too, in Red Light, but couldn't hold a candle to his partner in crime, Raymond Burr. Here, he takes his place amid a balanced cast with intersecting motives that result in a movie that, while satisfying, falls well short of spectacular. Still, it merits more viewers.