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On Dangerous Ground is directed by Nicholas Ray and stars Ida Lupino, Robert Ryan & Ward Bond. It's loosely adapted by Ray and A. I. Bezzerides from Gerald Butler's novel Mad With Much Heart. Cinematography is by George E. Diskant & the music is provided by Bernard Herrmann & Paul Sawtell. The story concerns Ryan's weary, lonely and psychologically bothered cop, Jim Wilson. Who after finally snapping the patience of his superiors is sent to Westham in the rural north to aid a murder case there. The idea is to get him off the streets he's so bitter about and to stop him finally going over the violence tinged edge. It's here, amongst the wintry landscapes, that he is brought into contact with Mary Malden (Lupino). A practically blind woman, Mary holds all the keys to the mystery and to the door at the end of Wilson's journey.

Right from the outset we are in no doubt that Nicholas Ray is about to take us on a noir journey. Herrmann's pulse like score accompanies its nighttime opening, Diskant's photography immediately painting a harsh city where life on the streets is tough. A place where loneliness can eat away at the soul and bleakness pours down off of the bars and the cheaply built apartments. It is in short, firmly encapsulating of Jim Wilson's bitterness and frame of mind. Wilson, once a prime athlete, is mired in solitude, his only telling contribution to society is his work, but that is ebbing away by the day. His mood is not helped by his partners, Pop & Pete, who can easily switch off once their shift has finished - but they have family to go home to, Wilson does not. Wilson's only source of joy comes courtesy of the paperboy he briefly plays football with out on the street (a rare ray of light in the film's moody atmospheric first half).

Then the film shifts for its second act, a shift that has made On Dangerous Ground a most divisive picture in discussions over the years. Sent north to effectively cool down by Captain Brawley (Ed Begley), we find Wilson leaving behind the dank city and entering the snowbound countryside in the north. Dark has become light as it were. The whole style and pace of the film has changed, yet this is still a place tainted by badness. A girl has been murdered and Wilson is still here to locate potential evil. An evil that the murdered girls father (Ward Bond as Walter Brent) wants to snuff out with his own vengeful fury. As the two men track down the killer, Wilson sees much of himself in Brent's anger, but once the guys arrive at Mary Malden's isolated cabin, things shift just a little more.

Said to be a favourite of Martin Scorsese, and an influence for Taxi Driver, On Dangerous Ground has often been called Nicholas Ray's best film by some of his fans (I'd say In A Lonely Place personally). Odd then that Ray himself wasn't happy with the film, calling it a failure and not the finished product he had envisaged. Ray had wanted a three structured movie, not the two part one it is; with the final third being far bleaker and more noirish than the one we actually get. However, and the ending is a bit scratchy for the genre it sits in, it's still a fabulous film that is more about the journey of its protagonist than the diversity caused by its finale. Ryan is terrific, a real powerhouse and believable performance, while Lupino beautifully realises Mary's serene impact on Wilson and the counter opposite to the darkness within the picture. It's a given really, but Herrmann's score is potent, listen out for the opening, the crossover section from city to countryside and the rock face pursuit. While Ray directs with his customary knack of blending the grim with the almost poetic. 8/10

Nicolas Ray who directed a string of good films, most notably In a Lonely Place, Flying Leatjernecks and They live by Night and would become best known for Rebel Without a Cause directed this fine film-noir flick from 1952. He had taken the idea for the story based on the Gerald Butler novel Mad With Much Heart. Ray teamed with Albert Bezzerides for the screenplay who had written They Drive by Night, Desert Fury and Thieves Highway for the screen and would become best known in film for Kiss Me Deadly. He would become better known in television as the creator of the long running western series The Big Valley. Excellent photography in this film from cinematographer George E. Diskant. Robert Ryan is one of Hollywood's most underrated actors and in the staring role of a burnt out city cop on the road to redemption and awakening, turns in yet another great performance. Ida Lupino is another of my favorites and this time around plays a blind woman living alone in rural upstate Mew York. This is a film in two acts that are almost like tow separate films. Part one we find the Ryan character as a violent tough and over the edge cop who once was a popular high school football star and has become burned out in his job and dissatisfied with his lonely small apartment so he hates his job and his life away from work. The first half of the film is mostly night scenes. He is sent by his superiors to cool off in the frozen north and try to help solve a local murder. In the Ward Bond character as the Father of a murdered woman he meets someone even more angry and violent than he is. Bond delivers a strong supporting role performance. Rounding out the fine cast are Ed Begley, Charles Kemper and Anthony Ross. Famed, prolific composer Bernard Hermann provide the musical score. The story might be a little simplistic at times and predictable but it is still a strong film and I would give it an 8.5 out of 10.

'On Dangerous Ground' is a very original and striking movie, one of the most interesting to come out of 1950s Hollywood. The movie is in two halves. The first is urban and sees Robert Ryan play Jim Wilson a brutal but seemingly moral cop who appears to be on the brink of a complete breakdown. His character could well be the toughest cop ever seen on screen until the early 1970s heyday of Dirty Harry and Popeye Doyle,etc. The second half is rural, with Wilson being sent out of the city to investigate the murder of a young girl (shades almost of Stellan Skarsgard in 1997's 'Insomnia'). There he encounters a local blind woman (Ida Lupino), the sister of his number one suspect. The first half is as I said, extremely tough, the second half is ALMOST a mystery (yet it's obvious who the murderer is), and ALMOST a romance (but handled in a very subtle and "unHollywood" way). It's an odd combination but really works because the script lacks cliches, Nicholas "Rebel Without A Cause" Ray's direction is very fresh and inventive, and the acting is first rate. Lupino makes the most of her supporting role, as does Ward Bond ('The Searchers') as the father of the murdered girl, and Sumner Williams as Lupino's disturbed younger brother, but Robert Ryan steals the movie. I'm beginning to regard Ryan as one of the most underrated screen actors of all time. Just watch him in this, the boxing classic 'The Set-Up', 'Crossfire', 'Bad Day At Black Rock', and of course, 'The Wild Bunch' and see what I mean. 'On Dangerous Ground' deserves a much larger audience. Highly recommended.

Detective Jim Wilson is a good cop mired in a bad world of hustlers and pimps and crooks. He has a black and white sense of right and wrong, but he's trapped in infinite shades of gray — a garbage handler, as he self-identifies, who spends his days and nights thankfully cleaning up the trash on the mean streets. He's got pencil-pushing bureaucrats breathing down his neck, and every dame who crosses his path has angle. But he gets things done, he rights wrongs, usually by beating bad guys into submission. In other words, he is an archetype for every bad man on a good mission and this movie is a blue print for every renegade copy movie ever made thereafter.

And as is this case in almost every one of those cop movies thereafter, the world is quickly changing around him and in the new world, you can't solve all your problems with your fists — or, as in more modern movies, with a gun. (Side note: apparently things don't change too quickly much because this story line is still alive and well.) After a particularly brutal scene in which the sympathetic, sadistic cop beats a confession out of a craven, seemingly masochistic criminal, he draws the ire of his commanding officer who sends him upstate to a rural area gripped in an icy winter. A girl has been murdered and the locals, especially the father, aim to settle the score. Everything in his gritty, urban background has readied him to dole out some sympathetic justice, but there's just one problem — in the course of the investigation, he meets a dame without an angle: the beautiful, and blind, Mary Malden (played by Ida Lupino).

Her mentally challenged brother is a suspect and Jim and the victim's father are forced wait out the night at Mary's house. For a man who has seen too much and trusts no one, he can't help but fall for the lovely Mary who has can't see anything and is forced to, as she admits, trust everyone.

More modern sensibilities are used to (numbed by?) a direct visual treatment of passion, but the muted approach in this movie heightens the impact. When their hands touch, we are treated to a moment of romantic discovery that surpasses all the heat and energy of the currently more popular bra and pantie clad tussling between love interests.

The movie is shot in a jumpy, jerky way (mumblenoir?) with crackling dialog, adds to the tension, sense of foreboding and drama. And the car chase — sliding along icy roads — was well-executed. For such a short movie (82 minutes), it covers a lot of territory — from the heart of the city to the emptiness of the wilderness, and from cynical resignation and brutality to hope and redemption.

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Ignored at the time of it's release and still criminally underrated, On Dangerous Ground is a masterpiece from director Nicholas Ray, and maybe his best film {yes, better than Rebel Without A Cause}, a powerful yet poignant study of loneliness, urban alienation and finally redemption. It's both tough and tender, both thrilling and thoughtful, both sad and uplifting. In fact, the film itself is comprised of two halves, and both are simply brilliantly handled.

The first half is classic hard boiled film noir. Set almost entirely at night, Robert Ryan's policeman patrols the streets, getting so sickened by the filth he deals with that he has become dehumanised. As he deals with the gangsters ,the tramps and the thieves, the film has an almost documentary style, but it's also an extremely powerful study of a man caught in limbo, perhaps not that many stages away from Taxi Driver's Travis Bickle.

By contrast, the second half takes place mainly in daylight and forgoes the forbidding city scapes for snowy countryside. Ray gives us two terrific outdoor chase sequences, but just as striking are the beautifully written and played scenes between Ryan and the blind Ida Lupino, this tentative almost-romance between two lonely souls being so incredibly poignant. The last reel is somewhat rushed, due partially to pre-release cutting, and maybe the happy ending is un realistic. However, the final embrace has a tremendous sense of release.

Ryan superbly portrays his character's sickness and gradual melting while the gorgeous Ida Lupino has never looked more vulnerable. Bernard Herrmann's score is one of his best ever, ranging from thrilling hunt music for the chase scenes to music of almost unbearable beauty for Lupino. The score alone is a work of art ,but so is this wonderfully compact {at around 80 mins!}and excellent film.