This is a film about alcoholism. And, Zachary Taylor, playing an alcoholic, ex-cop, who has abandoned his family, plays the role very well.
Taylor's Max Thursday is told by his ex-wife that their son and her brother are missing. Thursday wants no help from the cops who he feels will take an apathetic approach to a case of a missing child and its uncle.
Along the way, Thursday, formerly a top cop, battles the bottle more than the untrustworthy, criminally-inclined, underworld figures he meets. One such figure is fellow alcoholic Angel, played brilliantly by Kay Medford. Angel almost steals the film, but is unfortunately quickly tossed aside (literally and figuratively) by the filmmakers.
Faye Emerson came out of retirement to act alongside Taylor. The two made the fabulous noir Danger Signal together five years earlier. She's excellent as the woman trying to find her son (and brother), and forced to rely on her disease-ridden ex-husband, who, by the way, she still loves. (She never declares it, but Emerson's acting, while nuanced, delivers the message.)
Mary Boland deserves mention here, too. The flop house proprietor has given Thursday room and board to be her "house dick."
Too bad, the film doesn't give much for the great Sam Levene to do. He played the police captain who's is noticeably absent after the first act. In fact, there's a couple of scenes where you expect his presence, but he's not there. I suspect the nickels and pennies budget created blemishes like this.
TCM is screening a pristine restored version of the film. Cinematographer Russell Harlan, ASC (Gerald Hirschfeld is also credited) does a super job of lighting gritty, real locations including interiors of abandoned tenements and New York's subway system.
Director Joseph Lerner botches the third act with help from screenwriter Don Ettlinger. But, I commend them for their success at guerrilla filmmaking as TCM's Eddie Muller points out the production could not afford any permits to shoot in the city's streets so the filmmakers did it without.
Overall, the film's fails to meet expectations, but is a gem for genre fans.
Taylor's Max Thursday is told by his ex-wife that their son and her brother are missing. Thursday wants no help from the cops who he feels will take an apathetic approach to a case of a missing child and its uncle.
Along the way, Thursday, formerly a top cop, battles the bottle more than the untrustworthy, criminally-inclined, underworld figures he meets. One such figure is fellow alcoholic Angel, played brilliantly by Kay Medford. Angel almost steals the film, but is unfortunately quickly tossed aside (literally and figuratively) by the filmmakers.
Faye Emerson came out of retirement to act alongside Taylor. The two made the fabulous noir Danger Signal together five years earlier. She's excellent as the woman trying to find her son (and brother), and forced to rely on her disease-ridden ex-husband, who, by the way, she still loves. (She never declares it, but Emerson's acting, while nuanced, delivers the message.)
Mary Boland deserves mention here, too. The flop house proprietor has given Thursday room and board to be her "house dick."
Too bad, the film doesn't give much for the great Sam Levene to do. He played the police captain who's is noticeably absent after the first act. In fact, there's a couple of scenes where you expect his presence, but he's not there. I suspect the nickels and pennies budget created blemishes like this.
TCM is screening a pristine restored version of the film. Cinematographer Russell Harlan, ASC (Gerald Hirschfeld is also credited) does a super job of lighting gritty, real locations including interiors of abandoned tenements and New York's subway system.
Director Joseph Lerner botches the third act with help from screenwriter Don Ettlinger. But, I commend them for their success at guerrilla filmmaking as TCM's Eddie Muller points out the production could not afford any permits to shoot in the city's streets so the filmmakers did it without.
Overall, the film's fails to meet expectations, but is a gem for genre fans.