J'ai grandi en prison

"Film-Noir" as Newbie Aficionados Find-Out Fast is a Tough Genre to Define, Pigeon-Hole, and Explain.

Whole Books have Attempted the Task and the Ambiguity and Miss-Identifying Remains.

Just Ask Eddie Muller who has Made a Well-Deserved Respected Career as "The Czar-of-Noir and Soldiers-On with His Film-Noir Foundation and Today Still Carries the Torch as Good as Any-Body.

Case in Point..."Outside the Wall", Written and Directed by Crane Wilbur", Little Known Hollywood Citizen, who had a Good Sense for Crackling Dialog.

A Good Cast Peppered with Ingredients the Likes of Richard Basehart with Support by Marilyn Maxwell, who had a Long Career, here in the Role of a Femme-Fatale Bleached-Blonde and is a Tough-as-Polished-Nails Nurse on the Make for Guys, "With Fancy Cars and a Pocket-Full of Miracles...

Dorthy Hart is the "Good-Girl", and Harry Morgan, Once Again Sliding Effortlessly from Cop or Criminal, this Time as a Gang Leader with a Sadistic-Side.

John Hoyt is an Aging TB Patient that Basehart Recognizes from a 15 Year Stint for Manslaughter that is Half His Life, whose Gang just Heisted a Cool-Mil from an Armored Truck and His Ruthless Ex-Wife and the Morgan Gang are Scheming to Steal.

Basehart is Terrific and the Philly Locations are the Digs where Basehart, as Naive as an Untrained Puppy, Navigates and Learns OJT, to Stay One Step Ahead of a Noir World of Bad-Guys, Dishy Blondes Void of Conscience, and the Fast-Growing, often Overwhelming Life Environs.

It's a Neat Little Movie Packaged for the Edgy Fans always on the Look-Out for Hidden-Gems Among the Pile of Rocks we Call Hollywood. While this Might Not Be Considered a "Gem" it is Part of the Better than Average B-Crime-Movies...

that May or May Not be Pure Film-Noir but are an Entertaining Enjoyment Plucked from the Pile that was a Steadily Growing Grist for the Mill of Movies from the Period that are even More than just...

Worth a Watch.

OUTSIDE THE WALL is a solid B crime movie that delivers everything the genre promises. It might make a nice comparison with TOMORROW IS ANOTHER DAY, released the next year. In both films, an ex-con, newly released, runs into trouble despite their pretty naive aspirations and innocuous personalities.

Probably the main distinguishing characteristic of OUTSIDE THE WALL is the use of Philadelphia locations. It's always fascinating to see a large city back in the middle of the last century. We are usually shown L. A. or N. Y., the Pennsylvania metropolis makes a welcome change.

At the top of the cast list is Richard Basehart. Pretty much an asset in any film, Basehart carries the lead perfectly. His boyish good looks serve the character, a still-young man who never had a chance to experience the world before he was thrown into prison. When he's let out, Basehart meets a stream of women, most of them unworthy of his attentions. Marliyn Maxwell is also well-cast as a brittle, materialistic nurse whom Basehart encounters in his first legitimate job. Her influence leads him to rejoin the criminal life, and plenty of trouble ensues. Among the rest of the cast are Noir favorites, Joseph Pevney, the incredibly prolific John Hoyt and Harry Morgan (who here plays a crime boss with gusto), . Dolores Hart plays Basehart's possible love interest, while Signe Hasso is almost wasted as a money-hungry gangster's wife.

In the Hollywood of late '40s and early '50s, Richard Basehart found plenty of work in the noir cycle but never made a major mark, the mark of a Robert Mitchum or Glenn Ford or even a Dick Powell. His good looks were all-American bland - lackluster - and his acting rarely leapt to dangerous voltages. Probably more at home on stage than on the pitiless screen, he leaves one of his fullest performances in a shunted-aside noir, Outside The Wall.

Just 30 but with 15 years in stir behind him (he'd caused the death of an abusive guard when he was just a kid in reform school), he secures an unexpected release from prison. An old lifer grumbles about life outside: `Everybody's got the jitters. A buck ain't worth a buck anymore.' But mo st of all he warns about the `dames,' of whom Basehart knows absolutely nothing. He'll soon find out.

In his first night in Philadelphia, a B-girl feeds him his first taste of liquor and tries to filch his wallet; later, washing dishes, he foils a stickup and, fed up with Brotherly Love, heads for the clean country of Jewel Lake, landing a job as a lab technician at a TB sanitarium. His first patient (John Hoyt) turns out to be an ex-con he knows who's just pulled a fatal armored-car robbery. When Basehart fails to blow the whistle, the dying Hoyt trusts him enough to mule payoff money to his avaricious wife (Signe Hasso).

The straight-arrow Basehart normally wouldn't dirty his hands, but the blonde and mercenary charms of nurse Marilyn Maxwell lead him to rethink his monkish life (`I just found out what money can buy,' he tells her, forking over a platinum bracelet in his new roadster). Still, his stirring conscience beckons him to fess up about his past to good-gal Dorothy Hart. But Hoyt has the means to hold him to his bargain, while his wife and her ruthless accomplices have their own plans for him....

Crane Wilbur, who started way back in the silent era, wrote several noirs and directed a few of them, mostly about prison life (Canon City, The Story of Molly X). Here, he directs his story with some nicely observed vignettes about the dislocation awaiting released felons but, as it advances, less than persuasive plotting. But, in addition to the convincing work he coaxes from Basehart, he assembles a solid cast, with Maxwell and Hasso rivaling one another in duplicity and Hart more appealing than the saintly simp she might have been.

Harry Morgan also appears, as a thug who elicits information by sliding scalpels under fingernails. Interestingly a veteran of even more noirs than Basehart, Morgan played the heavy the year before, too, in Red Light, but couldn't hold a candle to his partner in crime, Raymond Burr. Here, he takes his place amid a balanced cast with intersecting motives that result in a movie that, while satisfying, falls well short of spectacular. Still, it merits more viewers.

The premise of a convict trying for a fresh start isn't a new one, but I liked the unique characterization or Richard Basehart in Outside the Wall. He plays a young man who's spent more than half his life in prison. While he was a fourteen-year-old in reform school, he beat up a guard (who later died) and was sentenced to murder. After fifteen years, he receives a pardon and is completely unprepared for the outside world. Think about it: the last time he saw the outside, he was a little boy. He's never driven a car, worked at a job, gone on a date, paid bills, or lived on his own. Thrust out into a new world, he gets a job working in a sanitarium and quickly falls for the first blonde who turns his head, Marilyn Maxwell. Dorothy Hart is the brunette nurse with a heart of gold, in contrast to Marilyn's obvious gold digging schemes. Will the innocent protagonist see through her, or will he have to grow up the hard way?

This old movie doesn't feel like it was made in 1950; it feels like it was made in the early 1930s. Everything about it is old-fashioned, from the good girl and bad girl contrast, to the simple filmmaking techniques, to the type of turns the plot takes. I kept expecting Chester Morris to show up with Carole Lombard, Kay Francis, and Shirley Temple. If you like old movies, and especially ex-con movies, try this one out.

Richard Baseheart never competed with such mega stars as Gregory Peck, Humphrey Bogart and John Wayne but kept more to himself concentrating on more complicated roles on a smaller scale, like a kind of understatement actor, but the result is that his roles are always interesting and intriguing. Here he is released from prison after fifteen years at the age of 29 and knows nothing about society. His only schooling in 15 years' imprisonment has been to handle tough guys and ruffians and a thorough knowledge of the criminal type. To get away from the stress and noise of Philadelphia, he heads for the country and finds a small friendly town where nothing ever happens, where he is employed as an assistant at a hospital. So far so good, but it is not. An old fellow gangster turns up in a dying state who has hidden a million away somewhere, and the fellow hoodlums he has fooled are after him, so he is not allowed to die in peace. Unfortunately Richard Baseheart is there, they recognise each other, and the case is cooked. From there on the strain and excitement of the thriller keeps constantly rising like a fever temperature, and a few dames get involved also. This is in many ways the perfect thriller, but Richard Baseheart's acting is what keeps it glowingly alive until it bursts into flames, and the finale is an ingenious climax of the composition.