The director of this immensely stylish and underrated noir was Delmer
Daves and David Goodis wrote the original novel. The initial trick of
everything being seen though Bogart's eyes, (in other words, him 'being'
the camera), does get a little tiresome but it's got a strong narrative
and any movie that gives Agnes Moorehead a good, meaty role worthy of
her talent is always welcome.
The weak link is Bacall who, after her stunning debut in "To Have and Have Not" never did anything as good again. Here she has to address the camera a good deal but never looks comfortable doing it. On the plus side it's very stylishly photographed by Sidney Hickox making very good use of the San Francisco locations and there's two terrific supporting turns from TomD'Andrea as a friendly cabbie and Clifton Young as the guy who first picks Bogie up on the road but isn't all he seems. It remains an unjustly neglected picture.
The weak link is Bacall who, after her stunning debut in "To Have and Have Not" never did anything as good again. Here she has to address the camera a good deal but never looks comfortable doing it. On the plus side it's very stylishly photographed by Sidney Hickox making very good use of the San Francisco locations and there's two terrific supporting turns from TomD'Andrea as a friendly cabbie and Clifton Young as the guy who first picks Bogie up on the road but isn't all he seems. It remains an unjustly neglected picture.
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