Filmed in 1950, this movie was not released until 1952. According to director Richard Fleischer, when the film was finished, RKO Pictures owner Howard Hughes heard good things about it and ordered that a copy of it be delivered to him so he could screen it in his private projection room. The film stayed in the projection room for more than a year, apparently because the eccentric Hughes forgot about it.
Ironically, this movie turned out to be RKO’s biggest money-maker of 1952.
The film was shot in 13 days and the only part filmed on board a train was a few seconds of the arrival in Los Angeles. In preference to removing various walls from the sets, the director decided to make extensive use of a handheld camera that could be brought into rooms; this was one of the first films to do so. To save money, the train sets were rigidly fixed to the floor and the camera was moved to simulate the train rocking. The effect works beautifully for the cinematography, thus covering every aspect that defines film noir.
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| Charles McGraw and Marie Windsor |
This was also Marie Windsor’s breakout part. She had been hyped as “the new Joan Crawford” but had not been noticed much until this movie was released theatrically. Also, the film does not have a music score in the usual meaning of the term: the director substituted actual train sounds in places where music would ordinarily be heard for dramatic effect.
Whenever someone wants to watch film noir for the first time, this is the movie I recommend they start out with. A perfect example of the genre, an enjoyable 70 minutes, and the film that usually turns cinephiles into film nori addicts. If you are going to watch only one old classic this year, this is the movie to seek out.
P.S. Avoid the 1990 remake with Gene Hackman.
