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Gripping film noir with Dennis O'Keefe as Joe Sullivan, a man who escapes from prison with help from Pat, the woman (Claire Trevor) who's loved him and stuck by him for years. But Joe's fallen in love with a sympathetic caseworker (Marsha Hunt) and forces her to accompany him and Pat as they flee. Meanwhile, Raymond Burr plays the man responsible for Joe being in prison. He owes Joe money and sends a hit-man to make sure Joe doesn't try to collect.

A great movie from Anthony Mann. Wonderful script and cast. O'Keefe has arguably the best role of his career here. Trevor's perfect as always. A truly gifted actress who doesn't get as much respect as some of her contemporaries. Marsha Hunt does well with the weakest part in the film. She looks beautiful, which doesn't hurt. Raymond Burr's a sadistic and nasty villain. He has one scene that's pretty shocking for the time and makes the famous coffee-throwing scene from The Big Heat look like a kiss on the cheek. A classic film noir that all fans of the genre should see.

Enjoyable noir outing enlivened by a first rate cast, solid script and typically solid Alton camerawork. O'Keefe is right at home as Joe, the hotheaded lug with his own code and unlucky streak. Trevor is at her fatalistic best as the true blue moll who is meant for him but gets stepped over. Hunt is appealing and credible as the fresh-faced moralist who tries to change Joe but winds up changed, instead. Burr is an effective heavy, albeit a bit too wimpy at the end. Toomey, Bissell, and Ireland are all competent as well.

Alton uses multiple familiar Malibu locations to good advantage. The cinematography is excellent.

The script is particularly effective, building as Joe slowly discovers how he has been set up and deceived by basically everyone to some degree. Claire Trevor's struggle to come clean at the end is a moving and suspenseful section and the violent climax is curiously redeeming and satisfying. Noir fans should definitely give this one a look- not as famous as your typical Bogey or Mitchum entry, but just as iconic in its own way.

What a perfect film for insomniacs. This is wonderful to watch with the lights out. With that said, let's look at this underrated work by director Anthony Mann. First the obvious...John Alton is a genius. The lighting, or lack thereof, is visually striking. What this man could do with a $10 budget was simply amazing. Secondly, let's note the unusual commentary/narration by Academy Award winner(she won the award that same year for her role in "Key Largo"), Claire Trevor. I can count only a couple of film noir in which the voice-over is done by a doomed (in love)woman. Her sense of entrapment perfectly encapsulate's the mood of this film. Now, let's also note the odd use of a theremin for the bulk of the music used in this film. Check it out...very creepy. But one of the most overlooked components in this film has to be the hulking visage of Raymond Burr. This guy had to be in just about every film made between 1944 and 1960. In this particular film he is a sado-masochistic pyromaniac. In just about every scene he is torching somebody, whether it be by using his lighter, or throwing a flaming flambeaus at some poor unsuspecting party-going girl or by just burning down his own apartment. He's a nutcase...but a joy to watch on the screen.

Okay, so the story itself isn't the most original. But with everything else this film has going for it, I HIGHLY recommend anyone even slightly interested, to go buy it NOW! It's one of my absolute favorite film noir's. Oh...I almost forgot. Check out Marsha Hunt in this film. She's stunning.

Joe Sullivan is in jail having taken the rap for criminal Rick, who owes him $50,000 for it. Knowing he is looking to escape, Rick greases some wheels to help Joe's girlfriend Pat to organize an escape – all with the knowledge that once he is out he will be certainly caught in the resulting police dragnet and either killed or sent back to prison for even longer; either way he'll be out of Rick's hair.

I have watched a few noirs recently and the last couple in particular were a lot slower than I would have liked, so part of the appeal of Raw Deal was the short running time, which suggested that it wouldn't be taking too long over anything. This didn't mean it would be good of course, but it was a sign I wouldn't have the problems I'd had with the last few. As it turned out, although not as engaging as I had hoped, this is a solidly enjoyable crime thriller with a tough edge and a good pace to it that means the toughness has an urgency to it. The plot does have love interest within it but rather than be the distraction it can be, it provides a duality to the character of Joe since the two women he is traveling with sort of represent either side of his character and the battle between them.

O'Keefe does a good job in the lead, tough but not inhuman and is likable. Burr is not quite as good as the villain but I think this is more to do with me than him since I always struggle to see him outside of the Perry Mason roles. Both Hunt and Trevor play their roles well and there is a nice tension between them throughout the film. Direction is good – it is fluid and makes the most of each scene, never once being stagey or stiff as some of the recent films from the period I have seen have been.

Overall Raw Deal is not a brilliant film but it is a very effective one. It is short, punchy and has an enjoyably tough edge to all of it. The duality of the lead character is well played out and the violence is nicely stated.

Raw Deal is directed by Anthony Mann and adapted by Leopold Atlas & John C. Higgins from a suggested story by Arnold B. Armstrong & Audrey Ashley. It stars Dennis O'Keefe, Claire Trevor, Marsha Hunt, John Ireland & Raymond Burr. Paul Sawtell scores the music and John Alton is the cinematographer.

Convict Joe Sullivan (O'Keefe), incarcerated after taking a fall, breaks out of jail with the help of his girl, Pat Cameron (Trevor). But something is amiss, brutish mobster Rick Coyle (Burr) is influencing proceedings behind the scenes, he needs to because he owes Joe big time. Kidnapping Joe's social worker, Ann Martin (Hunt), Joe & Pat hit the road, it's a road that will lead to desperate consequences for many.

A raw fatalistic film noir that sees the ace pairing of director Mann and photographer Alton. They, along with O'Keefe, had made T-Men the year previously, itself a tough piece of film making. Raw Deal is the lesser known movie of the two, but that's not in any way indicative of the quality of Raw Deal, for it's most assuredly the real deal for sure. What unfolds over the 80 minutes running time is a plot full of characters destined for disappointments or even worse; rarely has the title for a film been as apt as it is here! Mann & Alton move the tight screenplay thru a shadowy world of half-lit images and high contrast brutality. Jittery cameras are supplemented by unbalanced angles, which in turn are boosted by Sawtell's music compositions. One of the best decisions made by Mann and Sawtell is that of the narration by Trevor, in itself unusual for a woman of noir to narrate, it's sorrowful and mournful in tone anyway, but with Sawtell scoring it with the theremin it plays out as part of a nightmarish dream-state.

O'Keefe was not the leading man type, but that's perfect for this film, he offers a credibility to a man whose life has taken a down turn, where his only comfort is being a thorn between two roses, but with that comes more problems as he seeks to only breathe the fresh air of freedom. Trevor (loyal and knowing moll) and Hunt (dainty with whiffs of goodness seeping from every pore) play off each other very well, offering up a sort of devil and angel on Joe's shoulders motif. Burr is shot from the waist up, giving his character even more emphasise as a hulking, sadistic brute, and rounding out the good performances is Ireland as a sly hit-man type who revels in getting a rise out of his paymaster. But no doubt about it, the real star of the show is Alton's photography, itself the critical character. Mann's film would have been great and got through on his direction and script anyway, but with Alton's camera it ends up being essential for the film noir faithful.

From the opening, where the credits show up on the background of prison bar shadows, to the no cop out-classic noir-ending, Raw Deal hits the mark. A film that's bleak and at times brutal, yet rich in emotional depth. A must see for like minded cinephiles. 9/10