Le miroir au secret

Sterling Hayden runs the show in this pretty entertaining late noir. He plays a man who finds himself helping, and marrying, a woman (Ruth Roman) who's been targeted by Russian spies and who's trying to get some stolen information in the hands of the American government. I saw this on TCM as part of a Ruth Roman tribute, and she's pretty good, and even gets a chance to be sharp and clever herself rather than wait around for a man to save her, but she's no match, nor is anyone else, for Hayden's gruff and macho screen presence. It also helps that he literally towers over every other actor in the movie.

Like many noirs from the 1950s, "5 Steps to Danger" is rife with paranoia and suspicion about Russia's potential for attacking the U. S., one of hundreds of films that were the product of the Cold War.

Grade: B+

We first meet John Emmett (Sterling Hayden) when he's having his car towed. He says he is from LA and is going on vacation and to see relatives in Texas. We never find out what he does, or why he seems to have some money, or for that matter hear from or see anybody he knew separate from this plot. He is impulsive enough to just sell his broken but rather expensive car for cash - but he does dicker for price - and he is impulsive enough to accept Ann Nicholson's (Ruth Roman's) offer to share a ride with her as far as Santa Fe and share the driving although she is a total stranger.

From that point the suspense ratchets up as John is first confronted by a nurse who is working for Ann's psychiatrist who says Ann has just had a nervous breakdown and needs to be watched, and is stopped by cops who say Ann is wanted for murder, and then hears Ann say she actually has military plans she smuggled out of East Germany that she needs to deliver to some old family friend who is working for the government in Santa Fe. John is very trusting about all of this when it comes to Ann, and you wonder why he doesn't insist they go to the police right away but he doesn't.

From that point it is a swirl of people who could be spies or could be on the side of the US government, or maybe Ann really is crazy, and the tension and suspense never lets up.

Eddie Muller of TCM's Noir Alley said he'd like to think that Hayden's rather unexplained character is actually Johnny Clay from "The Killing", which he made right before this film, having escaped the cops and on his way to a new life. I found the film very suspenseful and engaging, even if you have to suspend your beliefs on how somebody would act in John Emmett's position.

Let's get this out of the way. IMDb and the film itself do not credit a young Jack Elam as the thug Harry, who fails to do away with the principal characters. One of the spies later refers to him as "Harry". Elam looks almost ruggedly handsome here, not the messy, bugeyed, snaggletoothed psychotic he often portrayed in later years.

The real problem with this noirish road film is that the script is severely weakened from the plot and dialog of the novel "The Steel Mirror" by Donald Hamilton. The original novel had a very intricate plot that included psychological amnesia, guilt as a result of betrayal of resistance fighters in France in World WAr II, more fleshed out characters and motivations, etc. Kessler, the producer, director, and screenwriter failed to make anything of his material leaving the actors trying to salvage a dull script. Had this film been done by one of the noir specialists of the 40s it probably would have been a different film. If you can hunt down Hamilton's original version it is a fine read. I salute Sterling Hayden, Ruth Roman, and Werner Klemperer for their efforts.

Entertaining chase drama with a cold war twist. Ruth Roman, one of the more under appreciated actresses of the fifties, gives an excellent portrait of a woman pursued. Intelligent and capable with an underlying edge of hysteria since she's never completely sure of what's happening. Made just as the Cold War was starting to really make an impact on public consciousness the film uses that to it's advantage.

The requisite romantic subplot is the weakest part of the story but part of that is due to having that stolid block of wood Sterling Hayden in the lead. A stronger actor would have made this even better.

A minor spy film but one that keeps the tension taut and is strengthened by the strong work of its leading lady.

When his car breaks down during a trip from Los Angeles to Texas, John Emmett (Sterling Hayden) meets another motorist, Ann Nicholson (Ruth Roman), who offers him a lift. He learns that she is running away from her physician, Dr. Simmons (Werner Klemperer), and the police, who want to question her about a murdered Central Intelligence Agent in Los Angeles.

Werner Klemperer? The CIA? Murder? Oh yes. While this is not one of those big budget thrillers or spy stories, it is not a bad one. You like independent film, do you not? Well, this is what it looked like in the 1950s, when you worked outside the studio system.