Classy Brit Victor Saville ended his career with, of all things, a set of Mickey Spillane tough-guy adaptations, directing two of four he produced. He must have regretted not directing I, THE JURY/’53 (http://maksquibs.blogspot.com/2023/05/i-jury-1953.html), stepping up to helm #2. And thank goodness he did. An improvement in every way, a strong film noir in all departments right from the setup as amnesiac Anthony Quinn finds out he’s wanted for a murder he has no memory of. They’d lock him up if he hadn’t accidentally burned off his fingerprints. Yikes! Free to roam around town, Quinn investigates the crime: his old bank teller’s job; the four dishy dames clamoring for him (one an old flame disguised thru plastic surgery); the town’s corrupt officials & businesses; sees collateral damage from a bullet meant for him. Every twist a new piece of clarity to his still puzzled brain. Saville orders all the confusion so you follow along, and he hired brilliantly getting Mario Castelnuovo-Tedesco to sparingly score the film (that awful theme song not his) and cinematographer Franz Planer, exceptional not only in shades of noir, but also delving into geometric stylings for the daringly sadistic climax as well as finding angles & lighting that positively transform Quinn who never looked so good before or after. Saville went back to only producing for director Robert Aldrich on the much admired KISS ME DEADLY/’55, then returning as producer/director for last in the series MY GUN IS QUICK/’57 (not seen here). If it’s half as good as this, it’s an easy DOUBLE-BILL.
ATTENTION MUST BE PAID: Lots of bad Public Domain copies around on this one. And since the crisp grain & texture of Planer’s cinematography is so much of the story, check around. Studio Canal has a fine restored edition available.
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