Chasse au gang

Simply one of the best hard boiled noir films I have seen. Sterling Hayden is, as usual, excellent, while a very young Charles Bronson is surprisingly good as a 'punk' hood. Seems to feature nearly all scenes as location, or hand-held camera and it seems at times like a particularly effective episode of a 50s TV cop show - except that the content is much more brutal and sharp. This is a dark, dark film both in storyline and in the quite brilliant photography. I'd really love to see this neglected classic come out on a restored print on DVD. Isn't it time Criterion updated their 'noir' list? This cries out for restoration and a re-release.

This is excellent example of film noir: almost everything you'd want in this genre. Right from the opening shot, this had noir written all over it by cinematographer Bert Glennon, and from opening holdup-murder scene at the gas station, you knew you were in for a rough ride.

Speaking of "rough," I can't think of too many actors who were better and more suited for noir than Sterling Hayden, who delivers yet another uncompromising hard-headed, tough- guy character. This time he's a cop, "Det. Lt. Sims," and one with no use for any "con," even if the guy (in this case, Gene Nelson's "Steve Lacey") has cleaned up his act.

It wasn't just the photography and Haden, the entire cast was fascinating, and it's simply a fast-moving, entertaining film. Andre de Toth's direction also was terrific. He directed only one other noir: Pitfall, another great film that we are still waiting to see on DVD. At least this film finally made it to disc.

I had forgotten what classic beauty Phyllis Kirk possessed. Wow, what a face! She starred as "Nora Charles" on the popular "Thin Man" television series in the '50s. In here, she plays Lacey's wife "Ellen." Rather that going through the whole cast, I'll just say it was a hoot to see Timothy Carey again, even if his role was limited. This guy played the most whacked-out minor characters I've ever seen in movies. (See "The Killing" for a good example of what I mean.) Jay Novello as the veterinarian ex-con also was really interesting.

I'll tell you what else was nice: the realistic scenes with actual locations around Los Angeles in the early '50s. This movie had a number of hand-held camera shots. Even the holdup in the bank was done in a real bank. There are few, if any, hokey studio shots in this movie. It's the real deal..... and very much recommended. Combined with "Decoy" on the same disc, it makes for a nice double--feature for a night of noir.

I was lucky enough to see this little slice of film crime noir at the LACMA during the weekly Tuesday Matinée, and let me tell you, but for all the old ladies and grandpas in the theater I felt I had been transported back to the golden age of Los Angeles Film Noir. This title ranks up there with White Heat as one of the best crime thrillers using the City of Angels as its locale. After renting Kubrick's The Killing on DVD I jumped at the chance to see another heist film with Sterling Hayden, in my opinion the meanest S.O.B. Noir actor. He is awesome as usual in this movie with his characteristic scowl frozen on his face. Also for a film made half a century ago it has remarkably stood up to the test of time quite well. It's really a lean, mean little crime thriller. Please whoever owns the rights to this gem, release this forgotten classic on DVD!! You still have the chance to release a 50th anniversary edition this year!!

It's too bad Andre De Toth didn't contribute more to the noir cycle, because on the evidence he was a natural (plus he was married to early-noir icon Veronica Lake). The Pitfall, made in 1948, looks more and more like one of the best, and most central, movies in the cycle, but (except for the early, more gothic Dark Waters) De Toth only returned to it once, with Crime Wave. Its story is not a fresh one: an ex-con trying to go straight (Gene Nelson) is coerced by circumstances to aid and abet a gang of his former cellmates. The uncomfortable spot he finds himself in lies between them and the law, personified by Sterling Hayden as a tough, unforgiving police detective. There's much more attention to character in the film's hour-and-a-quarter running time than in many full-length features of the era; Jay Novello, as an alcoholic veterinarian who doubles as an underworld sawbones, is especially memorable. By any reckoning Crime Wave is a minor film -- even a minor second feature -- but De Toth lavishes easy expertise on it; it's surprisingly well paced, well shot, as well interestingly cut. Why so many talented directors (many of them refugees from Europe) were relegated, in the 1950s, to "genre" movies -- crime dramas, 3-D schlockfests and westerns -- is a puzzle. In any case, I'd give any three of De Toth's westerns AND his House of Wax for just one more film noir boasting his directorial credit.

An American Cinematheque presentation at The Egyptian.

A great little 'second feature' noir. Hayden is brilliant as the tough and cynical cop willing to break any rule to catch a couple of cop killers, and Phyllis Kirk oozes B-movie sex-appeal as the good-girl caught in the middle. With some genuinely funny dialogue, solid performances all round, and wonderful location filming around downtown Los Angeles, Chinatown and Glendale, the movie is a brilliant testament to the quality of so many cheap post-war crime thrillers. Of particular interest is the location filming inside the LAPD offices and dispatch room in City Hall.

Charles Bronson plays a tough-guy killer in an early supporting role. Timothy Carey shows up to chew the scenery as a bizarre, bog-eyed, dope-fiend, rape-o. And there's a great car chase through the Downtown city streets at night.

A minor classic. Entertaining throughout.