Roadblock

In my book, all true film-noir films are good in one way or another. There's just something about a post war film-noir thriller and "Roadblock" as as good as any of them. I guess this qualifies as a B-picture, but I refuse to see it that way. What I liked about it was how the femme fatal crosses over from being a gold digging ice princess to actually choosing love over money. She is played by non other than Joan Dixon who went on to appear in only about four other films. Too bad, I thought she was really lovely. Then there's the great Charles McGraw. He's just made for the film-noir genre and just about my favorite noir actor. Here he literally plays good cop/bad cop. I actually caught myself feeling disappointed that he was a good guy who went wrong. For me, it had a great feel. The cinematography was done by Nicholas Musuraca who had one Oscar nod to his credit. A top camera guy is always as big in a noir as any of the on-screen actors. At under 75 minutes it certainly doesn't wear out it's welcome. If you love film noir, then add this one to your list!

BTW, I had recorded "Roadblaock"on DVD and just watched it yet again. Over two years later, my original review still stands. I watch it every time it's on TCM and I love it more and more. Along with Jack Carson, Charles McGraw is one of my very favorite "second tier" actors and "Roadblock" will always be a film that I'l urge others to seek out.

Oh, one last thing, "We Don't Have Your Size!"

Charles McGraw was not the typical film noir sap. Shrewd, decisive, granite-jawed and gravel-voiced; his fall into darkness is sometimes hard to stomach - it's more like a plunge. He's disgusted with himself for having the same lousy weaknesses as all the shlubs he's investigated. And when his transformation is complete and his every thought and action is ruled by his mushrooming greed and lust, his hitting rock bottom is like a small earthquake. You wait for the aftershocks.

This is a modest crime film that comes at the tail end of the noir cycle (and it was undoubtedly shrugged off by audiences at the time) but viewing it today 50 years after its release allows one to judge it with fresher eyes. It's brisk, surprisingly well-plotted and boasts that signature blunt dialogue that's like boxers exchanging jabs. As the femme fatale, Joan Dixon does little more than purse her lips and act icily alluring, but that's enough. As a big-time racketeer, Lowell Gilmore is ironically (or intentionally?) so unthreatening and personable that his eventual fate seems richly undeserved. And as in many of the best noir films, there is an almost choreographed pivotal moment (like a complicated dance step) where the star-crossed lovers both shift gears, switch course and unwittingly cement their fates.

Plainly and efficiently directed by Harold Daniels, there are a couple rough transitions and slip-ups where information that should be being conveyed between characters isn't (partially undermining final dramatic showdowns) but still a fine B picture. And what noir film would be complete without someone shouting a line like "You haven't got a chance! You've been in this business long enough to know that!"

Joe Peters (Charles McGraw) is a no-nonsense insurance investigator. He unwillingly gets involved with chiseler Diane Morley (Joan Dixon). Later, he's investigating suspect Kendall Webb (Lowell Gilmore) who happens to be Diane's man. He has fallen for her and willingly corrupts his morals.

The story is told in a straight and narrow fashion like Joe's initial character. His downward slide is just as straight. There is a coldness to the stiff telling. It does have a car chase through the Los Angeles river bed. I wonder if it's the first or at least one of the first. It's also quite an epic walk off to end the film.

Billed as the story of an insurance investigator who goes crooked to please his femme fatale but there the similarity with "Double Indemnity" ends.

No twists or turns, no subtleties, this story is told as it is. A plain straightforward account that becomes almost predictable as the plot slowly unwinds from one situation to the next inevitable one. Nevertheless it's good yarn and well worth seeing. Better than your average B film. The outdoor footage gives a good impression of LA circa 1950. Ends with a thrilling police car chase on the LA river(?) and the villain ? ....... we'll you'll have to see it yourself.

"Detour" is far more famous. And it's probably better. But this strange little movie moves as inexorably to a terrible end as "Detour" does.

Charles McGraw was an excellent actor. He is fine here as "Honest Joe" Peters. He encounters Diane, a woman he never ought to have encountered, on a plane ride. He is a straight-arrow insurance investigator. She is looking for a rich man. She knows he isn't rich and she is not really painted as a villain.

Joan Dixon plays Diane in a deadpan manner. She is pretty and has a soft, rather high voice. Maybe she was someone's idea of an Elizabeth Taylor lookalike. There are similarities.

Everything is understated. Yet it's a tough movie. And it's powerful, and sad.