list http://www.spout.com/ Recent community activity around Raw Deal on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Raw_Deal/70765/default.aspx Title: Raw Deal
Year: 1948
Director: Anthony Mann
Plot: Violent and viscerally sexual, Anthony Mann's muscular low-budget noir tells the tale of a framed gangster's quest for vengeance after he busts out of prison. Once freed, gangster Joe Sullivan Dennis O'Keefe) and his girl friend Pat (Claier Trevor) set off to find the mobster who set him up. The kidnapping of Ann Martin (Marsha Hunt), the social worker who wrote to Joe in prison, leads the fugitive into a romantic triangle of death, passion and tragedy. ~ Sandra Brennan, All Movie Guide
Times Tagged: 1
Number of Lists: 3
Number of blog posts: 1
Number of discussion threads: 2
SpoutRating: 2
]]>Sat, 19 Jul 2008 01:44:33 GMTRaw Deal1948Anthony MannViolent and viscerally sexual, <a href="/players/P___101049/default.aspx" style='text-decoration:underline'>Anthony Mann</a>'s muscular low-budget noir tells the tale of a framed gangster's quest for vengeance after he busts out of prison. Once freed, gangster Joe Sullivan <a href="/players/P___104860/default.aspx" style='text-decoration:underline'>Dennis O'Keefe</a>) and his girl friend Pat (Claier Trevor) set off to find the mobster who set him up. The kidnapping of Ann Martin (<a href="/players/P____33984/default.aspx" style='text-decoration:underline'>Marsha Hunt</a>), the social worker who wrote to Joe in prison, leads the fugitive into a romantic triangle of death, passion and tragedy. ~ Sandra Brennan, All Movie Guide1Slightly Tagged (1-5)3122http://www.spout.com/ProductImages/t67469xsoxg.jpghttp://www.spout.com/films/Raw_Deal/70765/default.aspxFilm http://www.spout.com/groups/Filmgaming/Re_A_new_pack_of_RESERVOIR_DOGS_1992/563/32750/1/ShowPost.aspx Post By: theunemployedshortstop
Post To: Filmgaming
Post Date: 7/18/2008 9:44:33 PM
Body: The Epic Tale of "The Wolves of Gomorrah Gorge." The Conceit: Due to a trans-dimensional rift caused by the AWESOMENESS of the Inglorious Bastards screenplay Quentin Tarantino is able to jump into a dimension where the world is perpetually in the early fifties. The impish auteur (also great collaborator) is eager to see what some of his favorite directors and writers would do with his material. He gives a vague outline of Reservoir Dogs to Carl Foreman. Bitter over the HUAC hearings of 1947, Forman takes the idea of the mole cop and turns it into a commentary on witch hunting (like the Crucible set in the American West… with action and no weeping, whining, or three hour yawn-fest… just kidding). Production: The studio loved the concept and saw Anthony Mann as the director. His surprising presentation of the morally grey double agents in T – Men and his success as a visual director of both noir and westerns would yield a fantastic visual motif. Foreman set the film in an abandoned camp… rumored to have once been a lush valley, the area is now a barren gorge of salt (Hence Gomorrah Gorge though the studio would want to back off of this title… hence the title of Guthrie's song). Mann shot the film in the Colombia River Gorge and the surrounding desert like region of Eastern Washington. It was more visually arresting than the Rocky Mountain back drop of The Naked Spur. Rewrites: Leigh Brackett (script doctor supreme: The Big Sleep, Rio Bravo, The Empire Strikes Back) is hired to tone down the political commentary and add some sex appeal. Miss Brackett split the role of Nice Guy Eddy (now Cow Puncher Bob) into two roles: Two siblings competing for their father's approval (much like Duel in the Sun) Cow Puncher Bob, a slick but incompetent rustler, and Grifter Gurdy, modeled after Lauren Bacall's con women / gambler characters from To Have and Have Not and The Big Sleep. The love triangle between Cub, Timber Wolf, and Grifter Gurdy pleased the studio (however they were angered when they saw Anthony Mann's finished product because of the homosexual overtones that Clift brought out in the mentor relationship between Cub and Timber Wolf). Casting: Gary Cooper as Mr. White/ Timber Wolf: Cooper's leadership and bravery in taking a role that John Wayne thought was un-American is stellar, comparable only to his work on High Noon. Cooper's earnest desire to save the dying "Cub" is palpable. And his seeming asexuality highlights Clift's subversive performance. Montgomery Clift as Mr. Orange / Cub: Mann chose Clift because of the actor's work in Red River. His youth and energy light up as the conflicted double agent. And the women love him in those chaps (this is why the studio eventually shelved the film, which was never to see the light of day) Jack Palance as Mr. Blonde / Coyote: Actor Alan Ladd happened to see the dailies of The Wolves of Gomorrah Gorge before the studio locked them away. The star was so impressed by Palance's cool contained rage that he forced Shane director George Stevens to put Palance on the short list for the role of Jack Wilson. The rest, as they say, is history Denis O'Keefe / Loren Bacall as Nice Guy Eddy / Cow Puncher Bob / Grifter Gurdy: O'Keefe's star had fallen a bit after poor reviews of Mann's Raw Deal. Mann liked to see the suave actor portray slick con men (part of his role in T – Men) so he snuck him into the film despite argument from the studio. Bacall was obvious due to Brackett's revisions, however Jennifer Jones was considered until Mann saw and disliked her in King Vidor's Duel in the Sun. Dean Martin as Mr. Pink / Skunk: Martin was originally offered the role of Coyote. Mann thought his cool domineer would create great contrast between the perception of the character and his violent actions. Dean Martin's record label was afraid that their star was being derogatively stereotyped… an Italian in the role of an evil thief, gangster and ear removing murderer (though Frank thought it would be o.k.). Dino opted to go with the drunken comic relief instead. The scene during the second act brake where he belts out "The Ballad of the Scavengers of Dry Gorge" to the nervous thieves pined down in the gorge by the Cavalry (eerily similar to a scene in Rio Bravo) is something I wish all could see. In the time line of the story this is where Coyote removes the young deputy's ear… off camera and covered in vague dialog. Jimmy Stewart as Joe Cabot. As always the elder statesmen Stewart gave his all in a both commanding and haunting performance as the ring leader of the train robbery gang (this would be the beginning of the psychologically conflicted, obsessive characters Stewart would be remembered for: Vertigo and The Naked Spur). Only Jimmy Stewart could corral these wild wolves. Though on the set for just a few days this cameo would prove to form a lasting friendship and yield much collaboration between Mann and Stewart. Ralph Meeker as Mr. Brown / Hyena: Ah crazy Ralph Meeker. I think if you watch Kiss Me Deadly or The Naked Spur you can see why he would be fantastic spouting off long, near incoherent, hyper macho dialog trying to get approval from the other thieves. He's a forgotten American treasure (And from MPLS!!! Walter Brennen as Mr. Blue / Grey Wolf: It's hard to imagine a western with out Walter Brennen playing the old coot that tells the hero they are full of it. In this film he is taunting poor Dean Martin for his alcohol problems: Joe Cabot (Jimmy Stewart): And you're Skunk. Skunk (Dean Martin): AH… now that ain't even a Wolf, Joe?! Grey Wolf (Walter Brennen): Ye don't gits ta be no Wolf cas' ya stink ta' high heaven boy. (High pitch HEYUCK sound… repeat). Meebe if ya lay of that HOOCH ya could be a wolf. Right now yas just a smelly varmint (continues laughing). Skunk (Dean Martin): Ah cram it old timer! (Skunk shoots at Grey Wolf and misses). Joe Cabot (Jimmy Stewart): Knock it off you two! Now (stutter) Now where was I… oh yeah the train. Alfred Ryder as Young Cop who gets his ear cut off (Deputy who gets his ear cut off… off camera [revealed in illusive dialog]): Alfred Ryder played the other undercover agent in Anthony Mann's T – Men. His character is found out and killed by the gangsters he is trying to infiltrate. His ability to show both competence as an agent for the government and fear as a mortal in trouble is HAUNTING. Ward Bond as Holdaway (Mr. Orange's Undercover training officer) (Sheriff Holdaway): Much like Walter Brennen, it's not a great western unless you've got Ward Bond (high school football team mate of John Wayne, famous for his roles in many of Wayne's films such as the Calvary Captain/ Reverend Samuel Johnston Clayton in The Searchers). Carl Foreman envisioned this part as a Fortinbras like character that the thieves would talk about but would only appear on screen a few times to create suspense. Sheriff Holdaway leads the posse that traps the bandits in Gomorrah Gorge, which forces Cub, Timber Wolf, and Grifter Gurdy to play their final hands. Hank Worden as Bumbling Train Operator: Foreman didn't go for the flash back structure of Tarantino's outline. His story is much more linear, leaving Cub's allegiance a mystery. He replaces the drawn out training sequence in Reservoir Dogs with the train heist that Tarantino was too cleaver to bother with. It was played for both laughs and action. Most of the laughs came from Hank Worden who some of you will remember as Mose Harper in The Searchers ("thank you… thaaank you kindly"), but more of you will remember as senior drool cup (ancient room service guy) in Twin Peaks ("thank you… thaaank you kindly"). That's it. Thanks for reading all of this non-sense.
]]>Sat, 19 Jul 2008 01:44:33 GMTtheunemployedshortstopFilmgaming7/18/2008 9:44:33 PMThe Epic Tale of "The Wolves of Gomorrah Gorge." The Conceit: Due to a trans-dimensional rift caused by the AWESOMENESS of the Inglorious Bastards screenplay Quentin Tarantino is able to jump into a dimension where the world is perpetually in the early fifties. The impish auteur (also great collaborator) is eager to see what some of his favorite directors and writers would do with his material. He gives a vague outline of Reservoir Dogs to Carl Foreman. Bitter over the HUAC hearings of 1947, Forman takes the idea of the mole cop and turns it into a commentary on witch hunting (like the Crucible set in the American West&hellip; with action and no weeping, whining, or three hour yawn-fest&hellip; just kidding). Production: The studio loved the concept and saw Anthony Mann as the director. His surprising presentation of the morally grey double agents in T &ndash; Men and his success as a visual director of both noir and westerns would yield a fantastic visual motif. Foreman set the film in an abandoned camp&hellip; rumored to have once been a lush valley, the area is now a barren gorge of salt (Hence Gomorrah Gorge though the studio would want to back off of this title&hellip; hence the title of Guthrie's song). Mann shot the film in the Colombia River Gorge and the surrounding desert like region of Eastern Washington. It was more visually arresting than the Rocky Mountain back drop of The Naked Spur. Rewrites: Leigh Brackett (script doctor supreme: The Big Sleep, Rio Bravo, The Empire Strikes Back) is hired to tone down the political commentary and add some sex appeal. Miss Brackett split the role of Nice Guy Eddy (now Cow Puncher Bob) into two roles: Two siblings competing for their father's approval (much like Duel in the Sun) Cow Puncher Bob, a slick but incompetent rustler, and Grifter Gurdy, modeled after Lauren Bacall's con women / gambler characters from To Have and Have Not and The Big Sleep. The love triangle between Cub, Timber Wolf, and Grifter Gurdy pleased the studio (however they were angered when they saw Anthony Mann's finished product because of the homosexual overtones that Clift brought out in the mentor relationship between Cub and Timber Wolf). Casting: Gary Cooper as Mr. White/ Timber Wolf: Cooper's leadership and bravery in taking a role that John Wayne thought was un-American is stellar, comparable only to his work on High Noon. Cooper's earnest desire to save the dying "Cub" is palpable. And his seeming asexuality highlights Clift's subversive performance. Montgomery Clift as Mr. Orange / Cub: Mann chose Clift because of the actor's work in Red River. His youth and energy light up as the conflicted double agent. And the women love him in those chaps (this is why the studio eventually shelved the film, which was never to see the light of day) Jack Palance as Mr. Blonde / Coyote: Actor Alan Ladd happened to see the dailies of The Wolves of Gomorrah Gorge before the studio locked them away. The star was so impressed by Palance's cool contained rage that he forced Shane director George Stevens to put Palance on the short list for the role of Jack Wilson. The rest, as they say, is history Denis O'Keefe / Loren Bacall as Nice Guy Eddy / Cow Puncher Bob / Grifter Gurdy: O'Keefe's star had fallen a bit after poor reviews of Mann's Raw Deal. Mann liked to see the suave actor portray slick con men (part of his role in T &ndash; Men) so he snuck him into the film despite argument from the studio. Bacall was obvious due to Brackett's revisions, however Jennifer Jones was considered until Mann saw and disliked her in King Vidor's Duel in the Sun. Dean Martin as Mr. Pink / Skunk: Martin was originally offered the role of Coyote. Mann thought his cool domineer would create great contrast between the perception of the character and his violent actions. Dean Martin's record label was afraid that their star was being derogatively stereotyped&hellip; an Italian in the role of an evil thief, gangster and ear removing murderer (though Frank thought it would be o.k.). Dino opted to go with the drunken comic relief instead. The scene during the second act brake where he belts out "The Ballad of the Scavengers of Dry Gorge" to the nervous thieves pined down in the gorge by the Cavalry (eerily similar to a scene in Rio Bravo) is something I wish all could see. In the time line of the story this is where Coyote removes the young deputy's ear&hellip; off camera and covered in vague dialog. Jimmy Stewart as Joe Cabot. As always the elder statesmen Stewart gave his all in a both commanding and haunting performance as the ring leader of the train robbery gang (this would be the beginning of the psychologically conflicted, obsessive characters Stewart would be remembered for: Vertigo and The Naked Spur). Only Jimmy Stewart could corral these wild wolves. Though on the set for just a few days this cameo would prove to form a lasting friendship and yield much collaboration between Mann and Stewart. Ralph Meeker as Mr. Brown / Hyena: Ah crazy Ralph Meeker. I think if you watch Kiss Me Deadly or The Naked Spur you can see why he would be fantastic spouting off long, near incoherent, hyper macho dialog trying to get approval from the other thieves. He's a forgotten American treasure (And from MPLS!!! Walter Brennen as Mr. Blue / Grey Wolf: It's hard to imagine a western with out Walter Brennen playing the old coot that tells the hero they are full of it. In this film he is taunting poor Dean Martin for his alcohol problems: Joe Cabot (Jimmy Stewart): And you're Skunk. Skunk (Dean Martin): AH&hellip; now that ain't even a Wolf, Joe?! Grey Wolf (Walter Brennen): Ye don't gits ta be no Wolf cas' ya stink ta' high heaven boy. (High pitch HEYUCK sound&hellip; repeat). Meebe if ya lay of that HOOCH ya could be a wolf. Right now yas just a smelly varmint (continues laughing). Skunk (Dean Martin): Ah cram it old timer! (Skunk shoots at Grey Wolf and misses). Joe Cabot (Jimmy Stewart): Knock it off you two! Now (stutter) Now where was I&hellip; oh yeah the train. Alfred Ryder as Young Cop who gets his ear cut off (Deputy who gets his ear cut off&hellip; off camera [revealed in illusive dialog]): Alfred Ryder played the other undercover agent in Anthony Mann's T &ndash; Men. His character is found out and killed by the gangsters he is trying to infiltrate. His ability to show both competence as an agent for the government and fear as a mortal in trouble is HAUNTING. Ward Bond as Holdaway (Mr. Orange's Undercover training officer) (Sheriff Holdaway): Much like Walter Brennen, it's not a great western unless you've got Ward Bond (high school football team mate of John Wayne, famous for his roles in many of Wayne's films such as the Calvary Captain/ Reverend Samuel Johnston Clayton in The Searchers). Carl Foreman envisioned this part as a Fortinbras like character that the thieves would talk about but would only appear on screen a few times to create suspense. Sheriff Holdaway leads the posse that traps the bandits in Gomorrah Gorge, which forces Cub, Timber Wolf, and Grifter Gurdy to play their final hands. Hank Worden as Bumbling Train Operator: Foreman didn't go for the flash back structure of Tarantino's outline. His story is much more linear, leaving Cub's allegiance a mystery. He replaces the drawn out training sequence in Reservoir Dogs with the train heist that Tarantino was too cleaver to bother with. It was played for both laughs and action. Most of the laughs came from Hank Worden who some of you will remember as Mose Harper in The Searchers ("thank you&hellip; thaaank you kindly"), but more of you will remember as senior drool cup (ancient room service guy) in Twin Peaks ("thank you&hellip; thaaank you kindly"). That's it. Thanks for reading all of this non-sense. http://www.spout.com/groups/Top_5/Re_Top_5_Actresses_in_Classic_Film_Noir/190/9645/1/ShowPost.aspx Post By: Jymkata
Post To: Top 5
Post Date: 5/29/2007 1:45:26 PM
Body: I think she had a very natural and charasmatic sexy quality about her and she was very diverse in her acting (noir, It's a Wonderful Life, Oklahoma, etc...) not just limited to the noir genre. Her voice, her face, her height and frame all add up to a an attractive, egnimatic figure that acts like a magnet in any film I see her in.I couldn't believe the difference in Clare Trevor's performance in Raw Deal compared to her other portrayals in other noirs and westerns. She was so dressed down and mean - it was quite a performance. [quote user="JimBell"] In the two dozen film noir I've watched, I have by chance missed Gloria Grahame. What is it you like so much about her acting? Sometimes the answer is simple, sometimes rather complex. For example, I gradually came to like Claire Trevor in pretty much every picture because she was ordinary looking and didn't try to "talk tough," but also had a very expressive face with deep eyes, and had a tough edge to her voice (which someone attributed to her NY background). She also changed to fit the roles. For example, in Raw Deal where she loves the guy but he treats her as his sister/partner-in-crime, she is a plain-Jane who radiates no sexual energy to speak of. But in Born to Kill, she gets to wear big-budget clothes (she looks great) and smolder in scenes of unfulfilled love with Lawrence Tierney.[/quote]
]]>Tue, 29 May 2007 17:45:26 GMTJymkataTop 55/29/2007 1:45:26 PMI think she had a very natural and charasmatic sexy quality about her and she was very diverse in her acting (noir, It&#39;s a Wonderful Life, Oklahoma, etc...) not just limited to the noir genre. Her voice, her face, her height and frame all add up to a an attractive, egnimatic figure that acts like a magnet in any film I see her in.I couldn&#39;t believe the difference in Clare Trevor&#39;s performance in Raw Deal compared to her other portrayals in other noirs and westerns. She was so dressed down and mean - it was quite a performance. [quote user="JimBell"] In the two dozen film noir I&#39;ve watched, I have by chance missed Gloria Grahame. What is it you like so much about her acting? Sometimes the answer is simple, sometimes rather complex. For example, I gradually came to like Claire Trevor in pretty much every picture because she was ordinary looking and didn&#39;t try to "talk tough," but also had a very expressive face with deep eyes, and had a tough edge to her voice (which someone attributed to her NY background). She also changed to fit the roles. For example, in Raw Deal where she loves the guy but he treats her as his sister/partner-in-crime, she is a plain-Jane who radiates no sexual energy to speak of. But in Born to Kill, she gets to wear big-budget clothes (she looks great) and smolder in scenes of unfulfilled love with Lawrence Tierney.[/quote] http://www.spout.com/blogs/jimbell/archive/2007/4/4/6730.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 4/4/2007 6:31:00 PM
Body: Raw Deal (1948) is a film noir that almost works. If you are going to watch it, or have watched it, you were probably drawn to the film by the famous pair of Anthony Mann (director) and John Alton (cinematographer), or possibly because of the stars such as Claire Trevor (“Queen of Film Noir”) or Raymond Burr (in an early role). The basic test, however, is whether the film works as a whole. Although Raw Deal has many good features, it does not pack the punch that it could or should. The two intertwining plots—a jail break and a love triangle—are handled deftly. Twists and turns and suspense are constant. Will the break succeed? What will Sullivan (Dennis O’Keefe) and his “partner” Pat (Claire Trevor) do when the get-away car dies? Will the police nab them when the do-gooder social worker, Ann (Marsha Hunt), secretly calls the cops when Sullivan and Pat turn to her as the only hideout they can think of? When the three take off in her car, how will they avoid the police blockades? When a warden spots them camping without a fire permit, will Sullivan have to shot him? What will they do when another guy fleeing the police pounds at the door of their hideout? When Sullivan goes to collect his $50,000 from his sleazy boss, Rick (Raymond Burr), will Sullivan survive the encounter, and will Ann help him by using a gun? As the two plots head toward climaxes, they become inextricably intertwined. Ann declares her love for Rick, and Rick is strongly attracted to her and her respectable life, but he sends her away in a rented car. Back at the hotel, Ann prepares for Sullivan and her to flee by ship to Panama. She loves Sullivan unconditionally and goes along with all the criminal activities he wants. Yet, when he says he’s going to kill Rick hours before the boat sails, she has had enough. Sullivan begrudgingly agrees to head for the dock. But, in the meantime, Ann has received a call from Rick’s henchmen saying that Ann has been captured and will be tortured if Sullivan doesn’t show up. Ann tells Sullivan it was only the front desk calling, and the two board the ship. Then the climaxes of the two plots happen in quick succession. As Sullivan describes a new, respectable life, Pat thinks that this is what she has always secretly wanted to hear, but then she realizes: “The lyrics are his, but the music is Ann’s.” She does not want to live a life where in everything from kiss to kids she is a stand-in for another woman, so she tells him of the phone call, he bolts from the ship, shots his way through Rick’s gang, kills Rick, and rescues Ann and dies in her arms. While there is plenty of action and, sort of, romance, two things undermine the impact of the film. Some fake bits break the cinematic illusion of being there. Some sets—particularly the signs—are unsubtle and phony. Thus Sullivan’s haunt sports a starkly lettered street sign “Corkscrew Alley”—so amateurish and heavy-handed. Similarly, when Pat and Sullivan escapes from the pen in a hail of bullets, the car seems untouched until it grinds to a halt. Then we see a cluster of about eight bullet holes around the gas tank. One would have done it. In addition, although the acting is generally very good, Sullivan maintains the same cool demeanour from jail break to death, and it seems more logical that he might be highly excited and nervous to break out and run, and then more collected when he has escaped the dragnet. The major weakness of the movie is the incomprehensible relationship between Sullivan and Ann. Initially she was attracted to him because as a social worker she wondered what had happened to the fine upstanding boy who heroically rescued others from a fire. Sullivan seems attracted to her because she is good looking (and, as we soon find out, the love between Pat and Sullivan runs only one way). But as the three flee from the law, Ann sounds like a plant from the Ministry of Moral Rectitude, constantly harping at Sullivan to go straight. This gets worse when she sees in his eyes that he would indeed have killed the warden who happened upon them camping. Sullivan tries to kiss her just to see what will happen, and she is disgusted. Yet, when she fires a gun to help Sullivan survive an ambush by two thugs, she inexplicably declares her love for Sullivan, and they spend the night together (off camera, of course). Previously, Ann was getting under Sullivan’s skin to the point where he told Pat to shoot her if necessary, but now Ann is getting under his skin in a completely different way, and we don’t know why. She gives a speech saying that from reasonably hard circumstances, she fought her way up with hard work and education so that now she has a car, a career, and the prospect of a good life. She presents this as an alternative to Sullivan’s fighting his way up (down?) with a gun and ending up on the run. Maybe this appeals to the decency Sullivan displayed as a boy. If so, it does not change his behaviour much, as he is right ready to start a gun battle with Rick’s gang instead of getting on a boat for a new life. So at the climax of both plot lines, Sullivan’s actions have little weight. We can see no good reason why he does not care for Pat who is good looking, loves him unconditionally, and has stood by him through thick and thin. We can see no compelling reason why Sullivan is so taken with Ann, nor her with him. While mediocre directing and poor character development might sound as if they would destroy the movie, some strong features counterbalance these weaknesses. As everyone who has ever written anything about Raw Deal points out, the camera work is great. John Alton really got to do this thing. He has said that in Anthony Mann he finally found a director who he could sit down and talk with. Only if you stop the movie will you consciously realize the amazing composition and lighting flashing on the screen. To take one minor example, when Ann has wounded the thug, she runs from the tackle and bait store into the night, and what we see framed by the doorway is a small dark figure running down a thin wooden sidewalk to the beach, fishing nets hanging all around her in the moonlight. Ann might be the voice of middle-class decency, but she is caught up in something bigger than her and potentially deadly. As with numerous film noir, Raw Deal has voice-over narration, but how different it is! Instead of a male, it is a female, Pat. And instead of being omniscient and telling us background, transitions, and so on, the narration is personal and gives us Pat’s thoughts, hopes, and worries. It works wonderfully. Claire Trevor says the voice-over with a matter-of-fact world weariness that introduces a element of fatalism even as the jail break is successful and the boat to freedom waits. I knew things would not end well when half way through the movie Pat is laying on a bed with her sprained ankle and Sullivan is pacing lost in thought about who-knows-what, and Pat says in voice-over something like “It had never bothered me before that he never said he loved me, but for some reason it bothered me now.” Jim Bell
]]>Wed, 04 Apr 2007 22:31:00 GMTJimBellJimBell Blog4/4/2007 6:31:00 PMRaw Deal (1948) is a film noir that almost works. If you are going to watch it, or have watched it, you were probably drawn to the film by the famous pair of Anthony Mann (director) and John Alton (cinematographer), or possibly because of the stars such as Claire Trevor (&ldquo;Queen of Film Noir&rdquo;) or Raymond Burr (in an early role). The basic test, however, is whether the film works as a whole. Although Raw Deal has many good features, it does not pack the punch that it could or should. The two intertwining plots&mdash;a jail break and a love triangle&mdash;are handled deftly. Twists and turns and suspense are constant. Will the break succeed? What will Sullivan (Dennis O&rsquo;Keefe) and his &ldquo;partner&rdquo; Pat (Claire Trevor) do when the get-away car dies? Will the police nab them when the do-gooder social worker, Ann (Marsha Hunt), secretly calls the cops when Sullivan and Pat turn to her as the only hideout they can think of? When the three take off in her car, how will they avoid the police blockades? When a warden spots them camping without a fire permit, will Sullivan have to shot him? What will they do when another guy fleeing the police pounds at the door of their hideout? When Sullivan goes to collect his $50,000 from his sleazy boss, Rick (Raymond Burr), will Sullivan survive the encounter, and will Ann help him by using a gun? As the two plots head toward climaxes, they become inextricably intertwined. Ann declares her love for Rick, and Rick is strongly attracted to her and her respectable life, but he sends her away in a rented car. Back at the hotel, Ann prepares for Sullivan and her to flee by ship to Panama. She loves Sullivan unconditionally and goes along with all the criminal activities he wants. Yet, when he says he&rsquo;s going to kill Rick hours before the boat sails, she has had enough. Sullivan begrudgingly agrees to head for the dock. But, in the meantime, Ann has received a call from Rick&rsquo;s henchmen saying that Ann has been captured and will be tortured if Sullivan doesn&rsquo;t show up. Ann tells Sullivan it was only the front desk calling, and the two board the ship. Then the climaxes of the two plots happen in quick succession. As Sullivan describes a new, respectable life, Pat thinks that this is what she has always secretly wanted to hear, but then she realizes: &ldquo;The lyrics are his, but the music is Ann&rsquo;s.&rdquo; She does not want to live a life where in everything from kiss to kids she is a stand-in for another woman, so she tells him of the phone call, he bolts from the ship, shots his way through Rick&rsquo;s gang, kills Rick, and rescues Ann and dies in her arms. While there is plenty of action and, sort of, romance, two things undermine the impact of the film. Some fake bits break the cinematic illusion of being there. Some sets&mdash;particularly the signs&mdash;are unsubtle and phony. Thus Sullivan&rsquo;s haunt sports a starkly lettered street sign &ldquo;Corkscrew Alley&rdquo;&mdash;so amateurish and heavy-handed. Similarly, when Pat and Sullivan escapes from the pen in a hail of bullets, the car seems untouched until it grinds to a halt. Then we see a cluster of about eight bullet holes around the gas tank. One would have done it. In addition, although the acting is generally very good, Sullivan maintains the same cool demeanour from jail break to death, and it seems more logical that he might be highly excited and nervous to break out and run, and then more collected when he has escaped the dragnet. The major weakness of the movie is the incomprehensible relationship between Sullivan and Ann. Initially she was attracted to him because as a social worker she wondered what had happened to the fine upstanding boy who heroically rescued others from a fire. Sullivan seems attracted to her because she is good looking (and, as we soon find out, the love between Pat and Sullivan runs only one way). But as the three flee from the law, Ann sounds like a plant from the Ministry of Moral Rectitude, constantly harping at Sullivan to go straight. This gets worse when she sees in his eyes that he would indeed have killed the warden who happened upon them camping. Sullivan tries to kiss her just to see what will happen, and she is disgusted. Yet, when she fires a gun to help Sullivan survive an ambush by two thugs, she inexplicably declares her love for Sullivan, and they spend the night together (off camera, of course). Previously, Ann was getting under Sullivan&rsquo;s skin to the point where he told Pat to shoot her if necessary, but now Ann is getting under his skin in a completely different way, and we don&rsquo;t know why. She gives a speech saying that from reasonably hard circumstances, she fought her way up with hard work and education so that now she has a car, a career, and the prospect of a good life. She presents this as an alternative to Sullivan&rsquo;s fighting his way up (down?) with a gun and ending up on the run. Maybe this appeals to the decency Sullivan displayed as a boy. If so, it does not change his behaviour much, as he is right ready to start a gun battle with Rick&rsquo;s gang instead of getting on a boat for a new life. So at the climax of both plot lines, Sullivan&rsquo;s actions have little weight. We can see no good reason why he does not care for Pat who is good looking, loves him unconditionally, and has stood by him through thick and thin. We can see no compelling reason why Sullivan is so taken with Ann, nor her with him. While mediocre directing and poor character development might sound as if they would destroy the movie, some strong features counterbalance these weaknesses. As everyone who has ever written anything about Raw Deal points out, the camera work is great. John Alton really got to do this thing. He has said that in Anthony Mann he finally found a director who he could sit down and talk with. Only if you stop the movie will you consciously realize the amazing composition and lighting flashing on the screen. To take one minor example, when Ann has wounded the thug, she runs from the tackle and bait store into the night, and what we see framed by the doorway is a small dark figure running down a thin wooden sidewalk to the beach, fishing nets hanging all around her in the moonlight. Ann might be the voice of middle-class decency, but she is caught up in something bigger than her and potentially deadly. As with numerous film noir, Raw Deal has voice-over narration, but how different it is! Instead of a male, it is a female, Pat. And instead of being omniscient and telling us background, transitions, and so on, the narration is personal and gives us Pat&rsquo;s thoughts, hopes, and worries. It works wonderfully. Claire Trevor says the voice-over with a matter-of-fact world weariness that introduces a element of fatalism even as the jail break is successful and the boat to freedom waits. I knew things would not end well when half way through the movie Pat is laying on a bed with her sprained ankle and Sullivan is pacing lost in thought about who-knows-what, and Pat says in voice-over something like &ldquo;It had never bothered me before that he never said he loved me, but for some reason it bothered me now.&rdquo; Jim Bell http://www.spout.com/members/0/tags/revenge/MemberTagFilms.aspxrevenge
Number of films tagged: 5189

Number of people who tagged: 145

Number of times used: 489

]]>Wed, 02 Dec 2009 23:13:41 GMT5189145489Tag http://www.spout.com/members/0/tags/noir/MemberTagFilms.aspxnoir
Number of films tagged: 77

Number of people who tagged: 67

Number of times used: 134

]]>Tue, 15 Sep 2009 14:23:43 GMT7767134Tag http://www.spout.com/members/0/tags/prison/MemberTagFilms.aspxprison
Number of films tagged: 2437

Number of people who tagged: 62

Number of times used: 167

]]>Tue, 01 Dec 2009 19:02:27 GMT243762167Tag http://www.spout.com/members/0/tags/jealousy/MemberTagFilms.aspxjealousy
Number of films tagged: 1295

Number of people who tagged: 39

Number of times used: 120

]]>Mon, 30 Nov 2009 16:13:05 GMT129539120Tag http://www.spout.com/members/0/tags/criminal/MemberTagFilms.aspxcriminal
Number of films tagged: 3388

Number of people who tagged: 27

Number of times used: 56

]]>Wed, 12 Aug 2009 13:02:59 GMT33882756Tag http://www.spout.com/members/0/tags/hostage/MemberTagFilms.aspxhostage
Number of films tagged: 673

Number of people who tagged: 19

Number of times used: 49

]]>Wed, 26 Aug 2009 17:55:12 GMT6731949Tag http://www.spout.com/members/0/tags/mobboss/MemberTagFilms.aspxmobboss
Number of films tagged: 265

Number of people who tagged: 6

Number of times used: 9

]]>Wed, 15 Jul 2009 13:04:09 GMT26569Tag http://www.spout.com/members/0/tags/escapedconvict/MemberTagFilms.aspxescapedconvict
Number of films tagged: 250

Number of people who tagged: 3

Number of times used: 4

]]>Mon, 04 May 2009 13:03:58 GMT25034Tag http://www.spout.com/members/0/tags/mistress/MemberTagFilms.aspxmistress
Number of films tagged: 623

Number of people who tagged: 1

Number of times used: 3

]]>Wed, 06 May 2009 13:04:03 GMT62313Tag http://www.spout.com/members/0/tags/socialworker/MemberTagFilms.aspxsocialworker
Number of films tagged: 108

Number of people who tagged: 1

Number of times used: 1

]]>Mon, 15 Jun 2009 13:05:23 GMT10811Tag