The Unknown Man

MGM Produced Only a Few Crime or Film Noir Movies that were Above Average. Their Heart just wasn't in it and didn't Even Try Much Until the Post War Audiences were Paying More Attention to those Reality Based Movies and Rewarded the Grit and Edgy Films with Box Office Success. The Uppity Studio was Now On Board. Sort of.

They Relegated Second Units and Hack Directors, Less than Premium Actors and Writers and Provided Them All with Low Production Values and Reluctantly Joined in on the Opportunity to Make Money. Most of Their Efforts were Unsurprisingly Average or Worse.

In this Crime Procedural Walter Pidgeon and Barry Sullivan do Their Best to Elevate the Thin Storyline with some Gravitas. it does Raise this One Slightly Above Average with some Surprising Twists. But the Production Suffers from a Rushed Schedule.

One Example where the Movie could have An Added Bonus of Realism with a Heart Stopping Scene would be to Film the Death of a Major Character that was Sudden and Powerful Involving a Hit and Run by Truck. These Pedestrian in a Hurry Movie Makers Chose to let that Action and Drama Occur Offscreen.

Overall it is Definitely Worth a Watch for its Story of Corruption and Crime Unfolding in Front of a Good Hearted and Naive Lawyer that Finds His World View Collapsing All Around Him. The Way He Deals with it is Interesting and a Bit Different for this Type of Thing.

I've seen this film criticized with the statement, "If you can get past the moralizing..." That misses the point. Moralizing is in the conscience of the beholder, as it were. This is a decent film with a standard murder mystery, but with a distinct twist that surfaces midway through. The resolution leaves the viewer wondering, "What would I have done in this position?" And I have to believe that's exactly what the filmmaker intended. To that end, and to the end of entertaining the audience, the film succeeds. I also like the way that the violence is never on stage, but just off camera. We know what has just happened; it's just not served up in front of us, then rubbed in our faces, as it would be today with contemporary blood and gore dressing. Besides, the violence is not the point. The point is the protagonist's moral dilemma, which is cleverly, albeit disturbingly, resolved.

Walter Pidgeon plays an attorney who is persuaded to defend a man accused of murder. This is odd, as Pidgeon is NOT a defense attorney but is still a well-respected lawyer. When he is able to obtain a not guilty verdict, he is horrified to find that the man was guilty after all--and he'd been suckered into using his good name to get the acquittal.

Later, when Pidgeon is talking about this case with a friend, he tells the guy that the murderer is part a larger organized crime scheme. And, in a twist, the friend turns out to be the leader of this mob--and rubs it in Pidgeon's face. In a fit of anger, Pidgeon kills the man and frames his client in the process.

So far, this is great. I like the idea of a lawyer acting on what is morally right and committing a murder. However, from this point on, Pidgeon's character just muddles his way through the film--doing a really goofy job in the process. Although he set up the murderer to take the rap for the second killing and he knows that the guy is a hardened killer, he inexplicably agrees to defend him once again! And, instead of doing a sane job, he just kind of muddles about and casts much of the suspicion on himself! What is going on here?! Pidgeon's character changes his motivation so often, you'd swear he had Multiple Personality Disorder! As a result of this very weak character, the film ultimately fails--despite starting off with such a wonderful premise.

Overall, an interesting time passer that really doesn't make a lot of sense. Too bad.

Prominent attorney Walter Pidgeon takes a murder case pro bono, wins an acquittal and discovers that his client (Keefe Braselle) was not only guilty but part of an extortion ring reaching to the highest eschelons of the city. Panged by his own complicity, he undertakes an investigation, stumbles onto the identity of the "unknown man" who heads the syndicate, and murders him.

The ironies engage when Braselle is charged with this second murder and Pidgeon must defend him by pointing to the existence of another "unknown man" -- himself. Though somewhat short of urban grit and long on rhetoric, the Unknown Man belongs to the noir cycle less by style or structure than by its acknowledgement of the pervasive corruption of American municipal politics that came to light in the postwar years.

Walter Pidgeon is Braley Mason, a civil attorney who takes on a criminal case in "The Unknown Man," a 1951 film also starring Ann Harding, Barry Sullivan, Keefe Braselle, and Richard Anderson. A great believer in justice, Pidgeon accepts a pro bono case defending a young man, Rudi Walchek (Braselle) accused of murder and gets him acquitted. Shortly afterward, he realizes that the man is guilty and was extorting protection money from his victim as well as other shopkeepers in the neighborhood. He is advised by the DA (Sullivan) that Rudi is small change, that to wipe out the organized crime, one has to find the top man. Mason finds the top man, and is faced with a dilemma.

"The Unknown Man" is a small, black and white film that manages to hold the viewer's interest with its various plot twists, though the plot is somewhat contrived. It's really the story of a good man seeking his god, justice, and what he is willing to do in order to attain it. And that's the most contrived part of all. I suppose there was a time before O.J., the Menendez Brothers, etc., etc., when people believed in justice and the integrity of attorneys. For this viewer anyway, those days are long over.

Walter Pidgeon does an excellent job -- his handsome, elegant demeanor and declamatory voice show us a successful, confident man but also a deeply caring one. Pidgeon had a magnificent career spanning 60 years but never really rose to superstardom. He was a solid actor who could play just about anything and did. It may be because by the time he was getting leads, he was well into his thirties and missed being a matinée idol; or it could be he lacked that certain something; or that he was typed early on as second lead to a big female star like Greer Garson. Hard to say. He gives an honest and touching performance here.

Very good movie with good performances.