This was something of a frustrating film, as although peopled with solid actors of reasonable note, it gives much evidence of being a holdover from the early talkie days of B films that ran about 62 minutes and left miles of storyline on the cutting room floor or just not filmed at all. At 83 minutes, it didn't have to be this way, but the films jumps days and weeks, and important events and storylines are mentioned after they have taken place offscreen and almost as an afterthought. For example, at one point, Hodiak mentions that 43 of 55
witnesses have reneged on their statements and/or on their willingness to testify, but that 43 number comes out of the blue after we have seen only one witness express some trepidation.
I should also add that much in this story seems reflective of my own experience. When I was in the army (1963-1965) a decade after this film, and stationed in Western Maryland, when driving there from New York, we were picked up more than once by police for speeding, having a light out, whatever, and instructed to drive behind the police vehicle to one of several (what looked like) county stores that had a set up in the back where someone (probably a minor judge) seemed to sit all night, just waiting for the cops to bring in miscreants like ourselves so that he could fine us $15 or $20 before sending us on our way. And this is how they treated the U.S. military ($78.11 a month pay). I can't imagine how others might have been treated (but certainly not as badly as in this film, I hope).
Anyway, the performances are all solid. Pidgeon kind of disappears a bit less than halfway through the film, and from that point on the real stars seem to be Hodiak, Malden, Gomez, Sloane and the always-excellent Audrey Totter, until Pidgeon comes back in near the end. The final courtroom scene holds the interest, and both Hodiak and Hugh Sanders (as the good judge and in, given its relative brevity, probably the best role he ever had; he gets to make the longest speech in the film) do well in it, but I was surprised to see Karl Malden billed 7th or 8th considering that he had just won a Supporting Actor AA for STREETCAR and, quite honestly, his is one of the larger roles in the film. And Frank Cady has maybe his best screen role, far larger than in the same year's HIGH NOON. Cameron Mitchell, in one of his first films, also doesn't have much to do, but his character is pivotal to the story.
All in all, an enjoyable little crime drams with a lot of holes in it, saved by the performances.
I should also add that much in this story seems reflective of my own experience. When I was in the army (1963-1965) a decade after this film, and stationed in Western Maryland, when driving there from New York, we were picked up more than once by police for speeding, having a light out, whatever, and instructed to drive behind the police vehicle to one of several (what looked like) county stores that had a set up in the back where someone (probably a minor judge) seemed to sit all night, just waiting for the cops to bring in miscreants like ourselves so that he could fine us $15 or $20 before sending us on our way. And this is how they treated the U.S. military ($78.11 a month pay). I can't imagine how others might have been treated (but certainly not as badly as in this film, I hope).
Anyway, the performances are all solid. Pidgeon kind of disappears a bit less than halfway through the film, and from that point on the real stars seem to be Hodiak, Malden, Gomez, Sloane and the always-excellent Audrey Totter, until Pidgeon comes back in near the end. The final courtroom scene holds the interest, and both Hodiak and Hugh Sanders (as the good judge and in, given its relative brevity, probably the best role he ever had; he gets to make the longest speech in the film) do well in it, but I was surprised to see Karl Malden billed 7th or 8th considering that he had just won a Supporting Actor AA for STREETCAR and, quite honestly, his is one of the larger roles in the film. And Frank Cady has maybe his best screen role, far larger than in the same year's HIGH NOON. Cameron Mitchell, in one of his first films, also doesn't have much to do, but his character is pivotal to the story.
All in all, an enjoyable little crime drams with a lot of holes in it, saved by the performances.