Crossfire (1947)

crossfire4Well we’re back to noir and the 1947 drama Crossfire starring Robert Mitchum (Out of the Past), Robert Ryan (On Dangerous Ground) and Robert Young. Directed by Edward Dmytryk (The Sniper, Bluebeard) the film also features Gloria Grahame (It’s A Wonderful Life, In a Lonely Place, The Big Heat) in a supporting role. That’s quite a pedigree, and also so many connections to other films I’ve seen; how could it fail?

Well, it can’t fail, really- as far as noir films go, this one looks utterly gorgeous, photographed by J.Roy Hunt, whose work here is simply high-art; its so beautiful (I only wish I had watched this on a Blu-ray, instead of an off-air recording). Although the script and acting are very good, its how the film looks that really struck me. Regular readers of this blog will know I’ve watched plenty of noir, particularly over the last year or so, so I’ve plenty to compare it to, and this film’s visuals compares with the best. Its moody, atmospheric and full of all sorts of creative and imaginative touches, painting with light indeed.

Police investigating the brutal death of Joseph “Sammy” Samuels (Sam Lavene) find that the evidence leads towards a group of demobilized soldiers, “Monty” Montgomery (Ryan), Arthur “Mitch” Mitchell (George Cooper), Floyd Bowers (Steve Brodie), and Floyd’s friend Leroy (William Phipps) who were seen with Samuels in a bar – particularly Mitchell whose wallet is found near the body, and who has gone missing. Capt. Finlay (Young) of the police department is approached by a fifth soldier, Sergeant Keeley (Mitchum) who is convinced his friend Mitchell is incapable of murder and sets out to investigate the crime himself, and try track down Mitchell before the police do.

Crossfire is a very atmospheric and gripping murder mystery telling the tale partially via seperate flashbacks of the events leading to Samuels murder, which we see in the immediate post-titles sequence but in such a way that we cannot identify the assailant. Gradually the film reveals to the audience who the murderer is and how he intends to cover up his guilt, instead pointing the blame upon Mitchell, and from that moment on it becomes a drama regards if the police or Keeley will discover the truth. The film is very good, with plenty of twists and turns, featuring some memorable characters and simply superb acting, particularly from Robert Ryan whose work resulted in him Oscar-nominated for Best Supporting Actor and Gloria Grahame, whose turn as Ginny, a girl from the wrong side of the street resulted in a Best Supporting Actress nomination.

The film received five Oscar nominations in all, perhaps indicating just how well the film was regarded at the time, and its aged very well, except for when it becomes, for me, a little too preachy towards the end. That last observation really is just a personal viewpoint, films back then, as I have mentioned before concerning films of that period, had an habit of preaching messages at the audience and sometimes its just, well,  a little too forced, as I thought it was here, in the form of a long monologue from one character to another but clearly intended direct to the audience: I half-expected the speaker to directly face the camera. I’m not contesting the moral point that is voiced at all, the film carries a worthy and important  message that’s unfortunately as timely now as it was back then, its just that I would have preferred more subtlety, but as I say that’s a personal view and many will likely have little problem with it.

Other than that, the film is pretty much perfect, and I hope a Blu-ray release arrives over here in the UK so that I can watch it again in better quality. Its funny; noir films have been well represented on Blu-ray over the past few years and its clear I’ve been rather spoiled. It just goes to further prove just how important home video releases on physical media really are for older, classic films such as this, especially HD and 4K.