Mardi, ça saignera!

By Edward G. Robinson's standards the early-mid 1950's marked a low ebb as his 'greylisting' essentially barred him from the major studios but at least enabled him to make 'B' movies for the smaller ones, affectionately known as Poverty Row. This low budget, high body count crime noir, directed by the more than capable Hugo Fregonese, is arguably the best of the bunch and gives this fine actor the type of role in which he traditionally excelled, that of a psychopathic gangster. As written by Sydney Boehm the character of Vince Canelli is utterly monstrous with no redeeming qualities whatsoever and needless to say Robinson is riveting.

Good support from Jean Parker as a gangster's moll and Peter Graves as an unlikely hood whilst Milburn Stone as a priest represents the customary Hollywood 'God' element.

Veteran Stanley Cortez is behind the camera and the taut editing is by Robert Golden who also edited Fregonese's earlier 'The Raid'. Both these films are regarded as this director's best work but sadly, finding further directorial assignments in Hollywood elusive, he packed his bags and moved to Europe.

Although this film is not as graceful as The Wild Bunch, it is still artfully directed and has a clever storyline. In one respect, though, it is the equal of The WIld Bunch for violent content. There is enough violence in this film for two movies. However, one cannot condemn a movie because it is overly violent. Men like these existed (and worse!) and they were even more violent than the Robinson character. While following the fate of men like these is unpleasant at best, one must come to grips with the reality of the lifestyles of hardened criminals. The prison break is a thing of beauty, but the rest of the film cannot possibly keep up with that event. However, the film as a whole is entertaining.

Edward G. Robinson shows he still could do the gangster role and keep the performances fresh. Unlike the mob bosses Robinson played in

"Little Ceaser", "The Last Gangster", and "Key Largo", the role of Vincent Canelli is more modern and vicious than the typical cigar chewing prohabtion gangster. Canelli and gunman Manning{Peter Graves} await their death sentence with a bunch of other prisoners on death row. Canelli's mob kidnap the daughter of one of the prison guards and

blackmail the guard in helping the death row inmates bust outta the joint!! Canelli needs Manning's money that he stashed away for his final getaway and Manning is just looking for freedom. The story leads

to a moral climatic stand-off with escaped killers vs. the police. The soul-less Canelli shows how low killers will go to survive. Great performance by Robinson and Graves, especially Robinson who plays a

gangster ahead of those times. It's sad that not enough people know about this movie. If your any type of gangster, suspense, or just a Eddie G. fan, GET YOUR HANDS ON A COPY OF THIS FILM... NYA'SEE!!!!!

An interesting and surprisingly obscure prisoner-on-the-run crime drama, BLACK TUESDAY is perfectly suited for Late, Late Show viewing in the wee small hours of the morning, when much of the action takes place. Like KEY LARGO (also featuring Edward G. Robinson), THE DESPERATE HOURS and the PETRIFIED FOREST, the second half turns into a confined space stageplay. The large cast holed up in the even larger safehouse is game, however, and despite a few unintentionally funny and seemingly out of place romantic interludes, things otherwise generally remain taut. It's like old TV home week as no less than three players from the Desilu stage (Vic Perrin and William Schallert from Star Trek guest appearances, Peter Graves from Mission: Impossible right next door on the lot) get significant screen time. Also look for Russell (The Professor) Johnson in a minor part. Graves in particular has a much more emotive adult part than he customarily got (other than Stalag 17) and he goes for it with gusto, if not much panache. Still, Robinson is at his melodramatic "Where's your messiah now?" best here, blithely slapping broads, torturing gunshot victims and going out in a Little Caeseresque hail of bullets / blaze of glory.

Seasoned noir veteran Sydney (SIX BRIDGES TO CROSS, ROGUE COP, UNION STATION, THE HIGH WALL and most notably, THE BIG HEAT) Boehm's script is not brain surgery (the prison breakout is dazzlingly improbable) and is frankly a bit derivative of movies like Cagney's KISS TOMORROW GOODBYE and Bogey's HIGH SIERRA. Also, they obviously didn't spend much on production values. Still, there is no one more iconic in this kind of capo titti capi role than Edward G. Robinson and given the lack of exposure this movie has had in the last 40 years, seeing Robinson's performance is akin to unearthing buried noir treasure. Any fan of Edward G. should immediately seek out this elusive screener because his vicious performance is nothing short of breathtaking, and trumps any of the limitations of this movie.

The "Ghosts" of Iconic Characters/Type Never Really Leave an Actor, but Remain to be Summoned Occasionally, if Need be.

Apparently Edward G. Robinson, Reeling from a Career Downslide, somewhat Linked to His becoming a "Friendly" Witness to the "House Un American Activities" (HUAC), Decided to Call Upon 2 of His Former Glorified On-Screen Characters.

Caesar Enrico 'Rico' Bandello from the Film '"Little Caesar" (1931) and Johnny Rocco from the Film "Key Largo" (1948).

The Result is this "Hidden Gem", a Somewhat Under-Seen and Under-Appreciated Crime-Thriller with Heavy Film-Noir Undertones.

It's a Relentlessly Down-Beat, Brutal Movie about Death-Row Inmates Vincent "King" Canelli (Robinson) and Peter Manning (Peter Graves) Planning and Successfully Pulling-Off an Escape on the Eve of Their Dual Electric-Chair Execution. Other Inmates are also Released and Join-In.

The Movie Pulls-Few-Punches in the Determination to Portray the "King" as a Soul-Less, Maniacal, Killer with No Redeeming Qualities from the Outset and Eddie G. Punches and Guns-Down People Routinely.

Peter Graves, on the Other-Hand is the "Soft" Side of the Criminal Gang. He's Sensitive and Artistic ( building matchstick bridges), but still Maintains a Desperate and Severe Attitude Throughout Most of the Running Time.

There are Probably More Gunshots is the Finale then any other Film Up to that Point. In Fact, the Deafening Sound of the Hail of Bullets is used "Artistically" in 1-Scene to Illustrate and Emphasize.

This is a Sharply-Designed, Dark, Story Told with Cut Angles, Deep Shadows, and Claustrophobic Sets and Hardened Criminals (Male and Female).

It's a Winner, with Solid Grounding in Film-Noir with Threads of that Dark Style Woven Throughout.

Was Hard-to-Find for a While and has Slipped Through the Cracks. Needs to be Rediscovered.

For Noir and Crime Fans it's a...

Must See

For All Others...

Worth a Watch.