L'ultima preda

This film is really very good and full of suspense. A woman on a train notices strange behaviour from two men who have just boarded her train and the fact that one has a gun under his coat makes her decide to report to the train conductor. There follows a cliff-hanger of a movie involving a young, blind girl who has been kidnapped and will surely be killed by the psychotic kidnapper (Lyle Bettger) if she is not gotten to on time. There is only one jarring note - I don't think I am alone in wanting to strangle the blind girl every time she appears in the film. The director decided that she should shriek, scream and do a nails-scrapping-down-the-blackboard routine at every possible moment. This film merits more than the 7 I gave it for those who can overlook this irritating performance. Worth watching - you may want to keep the remote handy so that you can easily access the mute button.

UNION STATION is a briskly paced thriller laced with enough suspense to keep the viewer intrigued until the final shootout in a tunnel below the station where badman (LYLE BETTGER) must be tracked down by hard-boiled detective (WILLIAM HOLDEN) so that a blind girl (ALLENE ROBERTS) can be returned safely to her father. Bettger has arranged a ransom for the girl to the tune of $100,000 and is determined to keep a grip on the suitcase containing the ransom money.

NANCY OLSON is the woman on the train who first notices that one of the men has come aboard with a gun and she immediately becomes suspicious enough to report this to the authorities. Lead detective Holden takes charge and he and Olson gradually develop a relationship of trust that leads to the finale where she's tending to his wounded shoulder, while LAPD man (BARRY FITZGERALD) looks on approvingly, sensing love in bloom.

It's directed in almost documentary style with a "Naked City" sort of realism. Holden and the police handle their suspects with realistically rough tactics which further heightens the tense realism of the story. JAN STERLING has a small role as a gun moll (what else?), who lets the police know that Bettger intends to kill the girl once he gets the ransom.

LYLE BETTGER is superb as the snarling villain, easily stealing many of the scenes with his brutally menacing tough guy role. No wonder he played this sort of man in so many films afterwards.

Well worth watching, nice work by Holden and Olson, with faint criticism for Barry Fitzgerald for mumbling much of his heavily accented dialog with that Irish brogue. The only other criticism is that the director allows ALLENE ROBERTS to scream too much, which becomes tiresome and makes Bettger come up with the crack, after slapping her: "For this, he's willing to put up $100,000."

For a mid range movie of 1950 this fast moving Railway Police/chase story packs a reasonable wallop. The cast is above average for what looks like a 'double feature' production and the script never wanders from its target for a moment. The police are shown realistically and situations are not compromised in their general graphic details. All characters are written and directed as you might expect them to be in a life challenging situation. Perhaps the somewhat tacked on ending could do with a little (very minor) editing to give it a harder edge but some may be happy with finishing it on a slightly lighter note.

Maybe Lyle Bettger could also have been reined in a tad with his full-on performance of the nasty kidnapper but he looks the part. Sydney Boehm's tight screenplay was based on Thomas Walsh's Edgar winning novel 'Nightmare in Manhattan' - William Holden and Nancy Olson were teamed again for Award winner, 'Sunset Boulevard' the same year and the image and sound on the DVD I viewed, was quite clean. Was good to discover another classic from the past.

Obviously modeled on Jules Dassin's superior THE NAKED CITY (1948) – co-starring Barry Fitzgerald, meticulous police procedural, filmed on actual locations – this film can certainly stand on its own two feet, being a tight and neatly-handled little thriller with plenty of action and suspense. Especially effective is a game of cat-and-mouse on a train between criminal and cop, which must have influenced THE FRENCH CONNECTION (1971)!

While it doesn't quite have the scope of the earlier classic, the film nonetheless makes the most of its situations (revolving around a race-against-the-clock to save a kidnapped blind girl) and settings (the majority of the action taking place, naturally, inside the titular location – with the tunnels underneath the station itself providing the backdrop for the climax, and which may well have been inspired by ending of THE THIRD MAN [1949]).

Fitzgerald is once again excellent though, here, he rather plays second-fiddle to the nominal stars – this being a Paramount film, it couldn't but be contract players (William Holden and Nancy Olson in the second of their four teamings). Lyle Bettger is appropriately menacing as the sly chief kidnapper, while Jan Sterling appears as his soft-hearted girlfriend (who suffers the consequences for demonstrating compassion towards her charge).

This film reminded me of others from the late '40's up to 1950, of "D.O.A.", in some ways, with its tense realism. The cold, merciless criminal mastermind played by Lyle Bettger was a (considerably) more balanced version of the sinister characters portrayed by James Cagney in "White Heat" or Richard Widmark in "Kiss of Death".

This is an early police procedural, with the railway cops working closely with the New York City police. According to Leslie Halliwell, "Naked City" -- which I've somehow managed never to see -- is the prototype for all the films of this type. The style eventually became overfamiliar, and very diluted, on television with shows like "Dragnet". "Naked City" cast Barry Fitzgerald unexpectedly as the lead detective, and he repeats that role here.

The two principal stars of "Union Station" are William Holden and Nancy Olson, who also co-starred in "Sunset Boulevard" this same year, 1950. Nancy plays Bill's conscience, constantly concerned that the interests of the kidnap victim don't get overlooked in the hunt for the criminals.

Holden is quite good -- he really started to come into his own at this time -- indicating more depth than was strictly required for the stalwart hero in a crime story. Bettger shows calculated menace. The two make worthy opponents.