The Last Crooked Mile

Ann Savage will forever be known as the vulturous woman in Ulmer's masterpiece DETOUR. Alas, many other films in her career have not had comparable longevity. This little programmer is one of the many forgotten little baubles that used to dot TV land back in the days before all those rotten Infomercials took over late night viewing. Despite the superb cast of B movie stalwarts, this generic little programmer is nonetheless noteworthy for trying to cram a lot of plot in the confines of an hour, so much so that it appears incoherent. It tries to do everything and ends up not doing much of anything. It's diverting enough because of the haywire plot; you never know where this is going. But see it for Ann Savage.

This Bit of Fluff from "Republic Studios" has a Sharp Noirish Appeal at Times but the Darkness is Overshadowed by a Lighter-Than-Air Tone.

Peppered with Comedy-Relief in the Form of a Running-Joke the Annoying Don Barry "Standing-Up: the Pretty Adele Mara.

The Grim and Scary Ann Savage who Left an Indelible Mark on Film-Noir in "Detour" (1945), Plays a "Songbird" and Another Love Interest for the Cocky, Belligerent Barry.

Although She Doesn't Quite Pull it Off as a Nightclub Singer because of Her Hard Look and Demeanor, Savage Does Make an Impression.

The Overall Tone is too Wishy-Washy for a True Noir.

But its a Good Time-Passer and Republic Studios was Humming Along as One of the Best "B-Studios" in Hollywood.

Those Looking for Film-Noir Need Go Elsewhere, but Still it's...

Worth a Watch.

After a bank robbery, $300k goes missing when the robbers are caught. A wise cracking PI inserts himself in the hunt for the money and, along the way, he finds dames, carnies, and conspiracies.

This was oddly a more light hearted noir since the PI and all other men in this movie are constantly spitting flirty one liners at every woman within reach. It hit all the tropes, but wasn't much more than a light entertainment of a B noir. My favorite scene was the projection screen roller coaster that looked pretty good for a very low budget special effect 🎢.

Watched on YouTube.

A bank robbery of $300,000 is a success, but all three robbers are killed in a car crash. And no one can find the money.

Private eye Tom Dwyer (Donald Barry, Republic's answer to Jimmy Cagney) inserts himself into the investigation mainly because the reward is 10% of the money.

The first order of business is to find the car, which is now an exhibit at an amusement park. Dwyer learns there has been some interest in purchasing the car. It seems evident that they think the money is somewhere, maybe not in the car, but as part of the car.

Eventually he meets a nightclub singer, played by Ann Savage. He asks for her help. Meanwhile, bodies keep showing up.

There were some interesting camera shots in this film, and the roller coaster scene was amazing, even though it's an obvious process shot. The dialogue is fast and somewhat suggestive in parts. There is some nice editing as well.

Barry's acting is very pleasant; I understand he was impossible to work with. It's too bad. Besides Savage, look for Sheldon Leonard, Irving Bacon, and Tom Dugan in smaller roles. Adele Mara is good as the woman constantly being stood up by Dwyer. Savage uplifts the entire film - great presence.

ABSURDITY: The getaway car used in a robbery, in which all three occupants died, vital evidence in an ongoing police investigation publicly on show at a fairground. Surely not!

MEDIOCRITY: The two motorcycle cops involved in the chase are shown, in spots clearly astride stationary machines, whilst the high speed scenery takes all the risks. The wonky, wobbly, wooden handrail at the roller coaster ride was presumably kept in storage, prior to being sold to the makers of Crossroads in the 1960's. Crooks, 'Wires' MacGuire (Sheldon Leonard) and his lame-brained sidekick hardly generate the 'oooh...I'm scared' factor, when they appear. Ann Savage is by far the movie's greatest asset, yet her character is a pale shadow of the volatile, destructive, savage by name, savage by nature femme fatale, who turned hapless Tom Neal's life upside down, inside out and back to front in the previous year's classic, 'Detour.' And as for her song.....that's one minute and 42 seconds of my life I'll never have back!

LIABILITY: Tom Dwyer (Don Barry's) sub-Cagney, fast talking, wise-cracking, whip-smart private dick comes across as forced and irritating, rather than sharp and amusing. To add insult to injury, most directors found the bloke very difficult to work with.

Occasionally, the rushed, slap-dash approach can produce a masterpiece. (Check out Neil Young's Tonight's the Night). This is not one of those occasions. Had this been a school report, phrases like 'could have done better' and 'too easily satisfied' would spring to mind.

Remarkably, this hotch-potch of half baked ideas and one dimensional characters, despite its legion of shortcomings, turns out to be passingly watchable, mildly entertaining and arcanely memorable. Frequently and against all the odds, 'Crooked Mile' manages to punch above its weight. It remains a pretty rough around the edges production from Poverty Row, Republic Pictures. Indeed, there is nothing polished about this misfiring oddity apart from John Dehner's finger nails.