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Anthony Mann (originally known as Emil Anton Bundesmann) is probably known by many for his taut, stylistic westerns of the early fifties (Winchester ’73, Bend of the River, The Naked Spur), but many also known him from his generally shameful budget noir thrillers produced in the mid to behind 40′s for such poverty row studios as Republic and RKO. Of these films, the approved among fans being T-Men (1947), but I judge Raw Deal (1948) holds its’ contain quite well, and is valuable viewing for anyone enthusiastic in the genre. The film stars Dennis O’Keefe (who appeared in the earlier Mann film T-Men), Claire Trevor (Born to Raze, Key Largo), Marsha Hunt (Smash-Up: The Record of a Woman, Jigsaw), and Raymond `Perry Mason’ Burr (The Whip Hand, Bride of the Gorilla) . Also appearing is John Ireland (A Plod in the Sun, All the King’s Men) and Curt Conway, who had bit parts in films like T-Men and The Naked City.
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The film basically begins with Joe (O’Keefe) busting outta the joint (that’s slang for escaping from prison, in case anyone was wondering) . Joe was sent up for a crime he didn’t commit, as he took the rap for his friend Rick (Burr) . We learn that Rick aided in Joe’s dash indirectly (greasing a few palms, I suspect), but it’s not in Rick’s best interests to behold Joe survive the hurry attempt as he owes him a vast wad of cash and also he can set the finger on Rick. In a sense, Rick feels he’s giving Joe impartial enough rope to hang himself with, and the police will catch care of his dirty business (with escaped convicts, it’s always shoot first, and then shoot again, at least in films like this) . Anyway, with the support of his girlfriend Pat (Trevor), he does race, but the police hasty throw up a dragnet, and so Joe and Pat are forced to notice refuge in the apartment of Ann (Hunt), a right back that worked on Joe’s case. She feels Joe should turn himself in, so they waste up taking Ann with them in an distress to preserve her from spilling the beans. With Ann in tow, Joe and Pat build their method to San Francisco, hoping to obtain a boat to South America, but first Joe must pay a visit to Rick and regain the money he’s owed. Minute does he know Rick has other plans, ones that involve Joe taking a dirt nap…
It’s attractive rare that I give out five stars, but I feel this film is deserving, as this is a case where I feel everything clicked. Mann’s direction, along with John Alton’s (T-Men, He Walked by Night) cinematography combined beautifully to construct a unlit, rich yarn that drew me in so completely. When I consider noir films, images of cityscapes, shrouded by sunless night advance to mind, but here, most of the account takes position on the road, and in remote, forested areas. Regardless of this aspect, they detached managed to exercise the available elements to form one of the best films in the genre, aided by a tight script, thoughtful characters, and unbelievable performances. O’Keefe is a believable mix of criminal and hero, driven by his needs, but tortured his conscious which is drawn out by the honorable girl character of Ann (who finds herself attracted to the well-behaved nature that she believes lies beneath Joe’s repellent exterior) . On the other side is the slightly ancient character of Pat, who, in any other film would have reach off as a dull veteran gun moll, but here she’s fully developed in her gain proper (aided by her monotone account throughout the film, taking her character well beyond what I would have expected) . She desperately loves Joe, but sees him slipping away as Ann’s influences steal their toll. And then there’s the character of Rick, the seemingly refined, yet highly sleazy, sadistic, strong-armed antagonist with a limited case of pyromania (check out the flaming Cherries Jubilee shower his gives his mistress after she makes the mistake of bumping into him, spilling a drink on his radiant duds) who’s area of leadership is based not on the respect of those under him (it’s rare that he does his absorb dirty work), but on the fact he’s the biggest dog in the yard (especially the map he’s filmed, at vulgar angles to invent his appearance seem that noteworthy more menacing) . Finally there’s the character of Fantail (Ireland), one of Rick’s henchman, who’s thinly veiled contempt for his boss comes through often, but apparently lacks the will or desire to wrest control from his boss. Another strength was the film’s pacing. The record moved along well, needing only 79 minutes to completion, and not one wasted moment throughout. Perhaps this relatively short urge time was more a product of the minimal budget, but it’s immaterial as Mann gets the job done, presenting one of the finer films I’ve seen in awhile. I believe my accepted scene was the fistfight between Fantail and Joe in the taxidermy shop. It’s very intense, shot beautifully, and had me glued to the camouflage (if you ever salvage yourself in the region of brawling in such a residence, construct determined you mind the antlers) . Was there some predictability within the fable? Perhaps, but I was so taken in I rarely noticed, nor did I care.
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I opinion the print on this DVD released by VCI looked very righteous. There’s puny indications of wear, but the inequity appeared captivating and orderly, and the audio very decent. One has to remember this wasn’t a major studio film, so this may be the best transfer we’ll watch, unless someone pops for a full-blown restoration. Special features include a 7 minutes fraction called Dismal Reflections Allotment 2, narrated by writer Max Allen Collins (an valid share, by the scheme), and three rough looking trailers for Impact (1949), The Man with the Golden Arm (1955), and Demolish Up (1947) .
Cookieman108
Anthony Mann’s films — whether they are Noire, War Film, Western, or Costume Story — are all about one thing: characters doomed to self-destruction. In that light “Raw Deal” is probably his best, because here *everyone* is going down.
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O’Keefe escapes from prison, curved on collecting his dough from Crime Boss Raymond Burr, and leaving the country. But on the design he becomes trapped between the woman who broke him out, and the gorgeous parole officer they kidnapped. Meanwhile the sadistic pyromaniac Burr has sent killer John Ireland to execute positive O’Keefe meets a sticky slay.
“Raw Deal” starts as an spend in classic film-noire style: tough-guy dialogue, gun-play, and simple low-key sets. Forunately (and unlike most directors), Mann is aware that these are impartial *noire motifs*. So rather than create a cliche by playing *to* them, Mann (and his collaborators Alton and Sawtell) produces a masterpiece by playing *against* them.
What would normally be a feeble revenge flick, becomes a complicated emotional high-tail, in the guise of an equally meandering — occaisionally surreal — road inch across post-war middle-America.
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John Alton photographs it beautifully (the Greg Toland of B-Movies) : a fight in a bait-shop takes site under a grid of dismal fishing nets; a woman’s face reflected in the face of a ships’ clock (also under a gain… hmmmm) ; a forest at night; an alleyway choked with fog — all of it exquisitely illuminated (or NOT illuminated, depending on your lighting philosophy) .
And instead of the standard — Dum-Da-Dum-Dum Dragnet derive, composer Paul Sawtel (the Bernard Herrman of B-Movies) gives it a quivering, supernatural flavour — with a Theramin.
The cast is perfect, particularly Ireland whose honest ambivalence can’t hide his distain for Burr and respect for O’Keefe. And Whit Bissel does a race throught in one of the films more surreal moments.
As i said before, the characters in a Mann film are always trapped by their bear weaknesses. This is a standard B-movie/noir scheme, usually explained to the audience by a cynical Private-I with words like lust, betrayal, destroy, etc. etc. What sets “Raw Deal” apart from the ordinary Noire fodder is that we don’t objective explore, we sympathise. In “Raw Deal” the trap isn’t “greed” or “lust” — it’s loyalty, devotion, duty, and self sacrifice. Anthony Mann’s characters are doomed by their virtues, not their vices.
And they choose us with them.
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