Pretty good 'scenic resort' noir. The color is used to great effect for the vistas, as well the swanky mid-century interiors. As much as I liked Bogart the High Sierra original, Palance gives a commanding performance as Earle.
Lee Marvin character stands out as a disgruntled underling to Palance. Chaney plays a convincing real-life monster as the crime boss; Winters does an authentically loyal 'dame'. Perry Lopez's Mendoza is a major player as well. Unfortunately, the other Hispanic character is a stereotypical happy-go-lucky servant kid.
A bigger deal was the Velma subplot. Does she have to be handicapped for Palance to fall in love with her? It's already established that his character sympathizes with the vulnerable (the little dog, the Mexican boy). It's good that she doesn't want to marry him; he rescues her, in a sense, by paying for her operation, but he doesn't own her. She's still "grandpa's little girl." Still he tries to control Velma as well as Marie (Winters).
Chaney's unexpected death creates a complication. The pace picks up from that point; suddenly, it's survival that's at stake, not the money. The chase scene really pays off. The action winds to its climax on tbe slick, snowy mountain road, Palance's car barely making the curves. There's no stunts here, the two motorcycle cops are highly-skilled riders getting the most out of their bikes in unsafe conditions.
Palance's last stand works as well as Bogart's in the '41 version. One thing the majestic landscape can do is show the literal isolation that the wanted man faces. Very enjoyable later noir. This could've been a bit better with more Lee Marvin and Lon Chaney, and a little less of the homespun subplots.
Lee Marvin character stands out as a disgruntled underling to Palance. Chaney plays a convincing real-life monster as the crime boss; Winters does an authentically loyal 'dame'. Perry Lopez's Mendoza is a major player as well. Unfortunately, the other Hispanic character is a stereotypical happy-go-lucky servant kid.
A bigger deal was the Velma subplot. Does she have to be handicapped for Palance to fall in love with her? It's already established that his character sympathizes with the vulnerable (the little dog, the Mexican boy). It's good that she doesn't want to marry him; he rescues her, in a sense, by paying for her operation, but he doesn't own her. She's still "grandpa's little girl." Still he tries to control Velma as well as Marie (Winters).
Chaney's unexpected death creates a complication. The pace picks up from that point; suddenly, it's survival that's at stake, not the money. The chase scene really pays off. The action winds to its climax on tbe slick, snowy mountain road, Palance's car barely making the curves. There's no stunts here, the two motorcycle cops are highly-skilled riders getting the most out of their bikes in unsafe conditions.
Palance's last stand works as well as Bogart's in the '41 version. One thing the majestic landscape can do is show the literal isolation that the wanted man faces. Very enjoyable later noir. This could've been a bit better with more Lee Marvin and Lon Chaney, and a little less of the homespun subplots.