Pazzia

On a night I couldn't sleep, I came across this movie on the TV set by chance. The house of a psychiatrist is held hostage by an escaped prisoner and his entourage. The prisoner (william holden) battles his mental demons throughout the night while the psychiatrist is intrigued to discover why this man has become the "bad egg" he is today. The dialogue between them both is intriguing, with the psychiatrist trying to enter the escaped prisoner's mind and explain the dream this man has had since childhood. A good movie to watch on a rainy day. One particularly for the crime/noir buffs.

I have always liked William Holden: handsome, restrained acting, penetrating eyes. In this particular film, he is actually bested by Lee J Cobb, very effective and convincing as the smooth psychiatrist.

Mate's direction is OK. It keeps you watching this unconvincing story but fails to raise production above overall mediocrity. Photography is probably satisfactory for a B noir... but I find it unfair to rate B a flick with a cast of this quality. Ultimately disappointing. 5/10.

The Dark Past is directed by Rudolph Maté and adapted by Malvin Wald, Oscar Saul, Philip MacDonald, Michael Blankfort and Albert Duffy from the play Blind Alley written by James Warwick. It stars William Holden, Nina Foch, Lee J. Cobb, Adele Jergens, Stephen Dunne and Lois Maxwell. Music is by George Duning and cinematography by Joseph Walker.

Al Walker Breaks Jail!

One from a number of classic era Hollywood's ventures into Freudian thrillers. Here we have Holden as escaped convict Al Walker, who along with his loyal crew hold hostage psychologist Dr. Andrew Collins (Cobb) and his guests at the doctor's remote country retreat. With Walker clearly unstable of mind and often showing a cold blooded streak, the good doctor, the calmest man in the house, slowly tries to draw out of Walker the root of his murderous leanings.

James Warwick's play had already had a film adaptation in 1939 as Blind Alley (Charles Vidor), but such was the advent of film noir and crime films of similar ilk, the source material was ripe for a remake in the late 40s. Maté's film is doubly reliant on strong acting performances and strength of subject matter, the former is no problem at all, with Cobb methodically excellent, Holden twitchy and coiled spring like and Foch smooth foil for both of them.

The latter issue isn't totally successful, though, the picture is very talky anyway, but much of the psycho-babble talk about conscious states, dreams, sensor bands and damage childhoods is handled so matter of fact, it's never really convincing as narrative thrust and it slow builds to a finale that lacks dramatic oomph. It's annoying really because Maté paints it in light and shade and a dream sequence, stripped back to negative form, is surreal excellence and befitting the interesting core basics of the psychological issues on the page.

It's definitely worth a look by those interested in the Freud influenced entries in the film noir cycle, while fans of hostage dramas like The Desperate Hours and The Petrified Forest will enjoy the character dynamics on show. But it's not all it can be and the handling of the crime and mental health equation is just too short changed to matter. 6.5/10

The Dark Past may very well have been a turning point in the career of William Holden. As you remember Holden had a dual contract with Columbia and Paramount and I'm sure Billy Wilder at Paramount must have seen The Dark Past before casting Holden in Sunset Boulevard. This B film for Columbia was unlike any of the 'smiling jim' roles that Holden had played up to now.

The Dark Past has only a 75 minute running time and was playing the bottom end of Columbia double bills when it first came out. It's a remake of another Columbia film Dark Past with Chester Morris in Holden's part as the escaped killer. The part of the psychiatrist played by Lee J. Cobb here was played by Ralph Bellamy in the previous production.

Cobb is now a police psychiatrist, but wasn't always; in fact as he relates in flashback he was a professor when he ran into Holden who was escaping from jail with his mob and his moll. They take refuge in Cobb's summer house where Cobb and family are entertaining guests.

Lee is as cool as he would be emerging from a refrigerator. He starts getting under Holden's skin with his training exposing the real cause of his killer personality. Most disarming in every sense of the word.

If it were only that easy. Still the film in its short run does keep one in suspense. A lot like the duel of minds between Humphrey Bogart and Fredric March in The Desperate Hours. Also look for a very good performance by Nina Foch as Holden's moll who unwittingly leads to her man's downfall when she asks Cobb to find out about a recurrent nightmare Holden has.

If a dose of Freud could only cure all bad behavior.

This film caught me by surprise to find out that William Holden starred in this film along with Lee J. Cobb in 1948, and found it quite interesting from the very beginning to the very end. Holden plays the role as a criminal named Al Walker who really enjoys killing people and is loved and adored by Betty played by Nina Foch who was very young and attractive. Lee J. Cobb, ( Dr. Andrew Collins) works for the police department as a psychiatrist and tries to help men from continually living in their world of crime. Al Walker has taken over Andrew Collins Summer home and all his guests and there is plenty of tension going on with guns firing all the time. There is a great scene between Al Walker and Dr. Andrew Collins where the doctor is trying to understand nightmares that keep Al Walker from going to sleep and at the same time try to teach him how to play the game of Chess. This is a very unusual film that seems to have been forgotten and put on the shelf.