Armadilha de Aço

This is a medium budgeted, tight little drama starring Joseph Cotten in one of the favorite roles of film noir culture, that of a respectable member of society who is discontented and bored, which leads to trouble. It is also one of those rare films with featured elements which are implausible if not impossible yet still holds one's interest to the end without one saying, "Yeah, right." and changing the channel. In this case Cotton plays a long time employee of a bank who day dreams of how easy it would be to embezzle one million dollars from his bank over a weekend.

Cotten has a likable everyman quality about him, so as he decides one day to make his day dream become a reality it's easy for the audience to identify with him. Yes, he's breaking the law and by all the moral codes of society he is wrong to do so. Yet we can't help but root for him because of the intelligence and audacity that his character displays.

This film is quite suspenseful at times and tightly paced by director Andrew Stone. It's a short little 85 minute feature and doesn't waste any time in telling it's simple but involving tale, with all the unexpected complications that arise threatening to scuttle Cotten and his plans for a new life with all that loot.

Since The Steel Trap was made in the '50s when the Hollywood production code dictated that no film character can attempt such a plan without paying a price for it, I was pleasantly surprised at the film's resolution, which I found to be both unexpected and satisfying.

One more thing for film noir buffs. Visually The Steel Trap has none of the chiaroscuro lighting effects that we so love about '40s noirs. In fact, the visuals of this film are the least of its virtues. The emphasis is upon plot development and, increasingly as the film progresses, its pacing. The film also reunites Cotten with his Shadow of a Doubt co-star, Teresa Wright. Wright gives a lovely performance (the moral conscience of the film) as Cotten's wife who initially hasn't got a clue as to her husband's plans. Her character eventually turns out to play an important role in the flow of the narrative.

Joseph Cotten was a fine actor, capable of playing a smooth talking charming psychopath (Shadow of a Doubt) as well as personifying an everyman, as an earnest, slightly awkward leading man (The Third Man). He also gets my nomination as the actor who possibly appeared in more outstanding Hollywood productions during the 1940s than any other.

While The Steel Trap hardly rates among Cotten's best films, it does have something in common with the actor, that of being good, largely neglected and underrated.

In the Film-Noir Canon this is there because of the Everyman abandoning the safe confines of Conservative Capitalism, that for the little guy is an oh so slow Corporate climb, and the unrelenting tension it embodies, more than the style or unfolding of implicit irony.

It has a rather pale look with mostly unremarkable Camera set-ups, although there are a couple that are noteworthy, and it all takes place in bright lights illuminating the plight of the Anti-Hero's inability to hide from the deed done and the escape route he has set in motion.

It is extremely suspenseful and the screws are forever tightening as one scene to the next lays out never ending barricades and pitfalls. The Movie can be at times quite breathtaking and never fails to pull the Viewer along with unsuspecting twist and turns.

The ending is up for debate, for it can be quite surprising and at the same time some might say a cop out. It does manage to separate this one from quintessential Noir and land it somewhere in the Film-Noir netherworld, just not at the forefront.

A nail-biter from beginning to end. Bank officer Osborne (Cotten) yields to temptation and steals a million bucks from his bank. Except to complete the theft, he's got to get to Rio before the bank opens on Monday. That means he's got to get a passport and make plane connections with only moments to spare. Thanks to him, I left a bucket of sweat on my living room couch.

So why hasn't this little sleeper been repeated more often on TV. It sure as heck merits an audience, even among today's digital addicts. It's an expertly observed, tightly written, fluidly paced little thriller. Director Stone was known for insisting on location staging. His insistence here pays off with an everyday realism that heightens the petty annoyances threatening to undo Osborne's daring scheme.

So the banker's got a million in cash in that suitcase to get out of the country. But then life's minor delays and hang-ups intrude, becoming major headaches for both him and us. Just listen to the airline stewardess cackle while we wait and wait to take off, or watch the booking agent fumble around while we squirm and squirm. The filming is like a microscope held up to everyday irritants that suddenly assume gigantic proportions, while a routine escape path turns into a nail-biting obstacle course. Poor Osborne, he'll be in fat city if he doesn't have a nervous breakdown first.

Cotten's fine as the regular Joe looking for a way out of his workday routine. Ditto Wright, as Osborne's compliant wife, the light slowly coming on that this isn't just an ordinary business trip. Also, director Stone managed a number of compact thrillers during this period, including The Night Holds Terror (1955) and Blueprint for Murder (1953). Too bad his skills aren't more widely recognized. Note here how neatly his screenplay completes Osborne's journey with that routine walk home— cast now in a reaffirming light.

I expect I'll catch the film again even though I know how it turns out. But for darn sure, I'll still keep my sweat bucket handy.

Had absolutely no doubt that 1952's 'The Steel Trap' would be an at least good film. Absolutely loved the concept, the type that is quite up my street when it comes to films and when done well the result is great. Have liked both Joseph Cotten and Teresa Wright in other films and knew from Alfred Hitchcock's classic 'Shadow of a Doubt' that they worked very well together and that Cotten could play the sort of role he plays here with no problem.

'The Steel Trap' didn't disappoint at all. Completely agree with all of the users that have written of the film favourably and don't have an awful lot to add to their very well expressed reasoning. It may not quite be a classic and it is not quite on the same level as, briefly comparing, 'Shadow of a Doubt', but 'Steel Trap' is a fine example of a very good film with many brilliant elements. One of the better films seen for the first time this week on the whole in a mixed bunch quality-wise.

By all means the film isn't perfect. To me, it was too dimly lit in spots.

While unexpected the ending was a bit too abrupt and didn't quite gel with the rest of the film. It is true that there are some ridiculous spots, but to me it was not near as improbable as has been made out by some.

Any of those not so convincing spots are more than compensated and outweighed the literally non-stop high level of suspense, with the heisting being especially well staged and suitably panic inducing. The story is a very clever one and never felt too obvious or too convoluted with plenty of diverting and surprising turns. The script is tautly structured and has plenty of intriguing and entertaining lines. The direction is always efficient and stops the film from becoming dull or routine.

Despite the lighting being on the dim side, the photography is suitably stylish and has atmosphere. Dmitri Tiomkin's score is a mix of cheerful (in spots) and ominous with typically lush orchestration. Both Cotten and Wright are excellent. Especially Cotten, who balances fraught intensity and easy going likeability adeptly, one oddly roots for him but is freaked out by him at the same time. Wright's role is less interesting but she is appealing in it, the two scintillate together. The supporting cast are all fine but not quite on par with the leads.

Concluding, very good. 8/10

I wish this movie was on VHS or DVD so I could enjoy it again. It is a nail-biting thriller, that doesn't resort to mindless violence to generate suspense. The acting is great, the plot unique and the action practically non-stop.