On Dangerous Ground (1952)
Directed by Nicholas Ray
Starring Robert Ryan and Ida Lupino
Soundtrack by Bernard Hermann
82 minutes
Jim Wilson (Robert Ryan) has been a cop for too long. He lives alone and acts alone, especially on his job where he has very little compassion for the citizens around him... he’s just a “dirty rotten cop” or a “dumb cop” to these people. If he needs information from someone, he’ll get it. If he suspects someone, he’ll rough ‘em up. His antics even have his colleagues worried but “you don’t get information being careful” claims Wilson to his boss while getting lectured.
The first thirty minutes of this movie basically sets up our protagonist. He’s a heartless cop and maybe he’s talked to or put up with a few too many thugs, hookers and psychopaths during his time on the force.
After pushing things a little “too far” with a suspect, Jim Wilson is assigned to go up north, which he refers to as “Siberia”. Up there he has to investigate the murder of a young girl. He ends up following the young girl’s father who understandably is enraged over the death of his daughter and will do anything to kill the killer. A chase ensues and they end up in an isolated house with a very lovely blind woman (Ida Lupino). How will the movie proceed after this and will our protagonist’s way of thinking change towards the end... well, you’ll just have to watch the movie.
Robert Ryan gives us a quality “dry” performance. He’s full of detest... and delivers his bitter lines like he should... a man, who’s lonely and stuck in a depressing job, a job that he claims to be the “only job he knows”.
Ida Lupino, stares at one spot while acting because she’s blind. She also stumbles over many things in her house and has problems walking down the stairs in front of her house. Is she overdoing it for the screen? Well, this movie was made in 1952 so I guess they didn’t put in a lot of thought about realism.
The music is composed in a “Herrmann-esque” style. There’s lot of intensity in the score because of Bernard Hermmann’s use of ostinato. His use of instruments should be noted (I found myself feeling rather uncomfortable when hearing the piercing sound of trumpets with straight mutes) and there’s some very lovely viola playing in the film.
As far as film making goes, many scenes in the second half are filmed outdoors, which creates a good contrast from the claustrophobic first half (filmed mostly indoors and on narrow roads). I also enjoyed watching the rear projection during the car scenes. They just don’t make ‘em like they used to.
Besides Ida Lupino’s cornball performance, this movie delivers the goods. I’d give it 3.5 stars out of 5.
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