Leofwine_draca Gig Young is a rather bland stand-in for Robert Mitchum in this murky film noir thriller about an attorney on a mission against the clock to track down witnesses to an old crime. The set up is actually a neat one, in which a seemingly innocent man is accused of being the suspect in a 12-year-old murder, leading a chief lawyer to track down witnesses to the crime to get their version of the events and to hopefully prove the man's innocence.This set up turns out to be an excuse for the writer to shine a flashlight into some very murky areas of society, in which various promising characters have fallen by the wayside into the depths of alcoholism and mental illness. It sounds rather more interesting than it is, with pedestrian direction contributing to an overly familiar feel to the whole thing, and the lack of any stand out performances makes it a rather forgotten and forgettable piece too. It's not bad by any means, but it's not one of the classics.

max von meyerling Hunt The Man Down is a routine little noir of slightly more than an hour in length but rich in its characterizations so not a total waste of time. It's a strange combination of Call Northside 777 and Chandler's Farewell My Lovely which was filmed as Murder My Sweet. A short order cook in a one arm joint thwarts an armed robber and his photo in the paper reveals him to be an escaped murderer who escaped his trial 12 years previously just before the verdict was to be read. Now if you ignore the plot hole that a man wanted and nearly convicted of murder and facing the gas chamber would stick around Los Angeles you can watch him as he passively is rearrested. He draws Gig Young as his public defender who, though initially skeptical of his client's innocence, goes about proving it. The writer was a hack who slid into TV series easily as did the veteran hack director, George Archainbaud who had been making "B" pictures and western programmers as long ago as 1917. The cinematographer was a genius, Nick Musuraca, and the playing by a phalanx of character actors, most of whom I believe were radio regulars, including the estimable Iris Adrian, make this a very enjoyable little picture. Veteran oh-I-know-him villain Gerald Mohr, who had been in hundreds of radio plays and series and who was the stentorian voice over at the beginning of TV's The Lone Ranger, many of which were also directed by Archainbaud, makes a rare benign appearance.It doesn't hurt that there is a lot of filming done on the 1950 streets of Los Angeles. And not just the usual recognizable landmarks but places with a breathtaking ordinariness that are somehow even more interesting than seeing an exterior of the Brown Derby. The film can't pretend that its anything other than a piece of work. By 1949 20 % of films were independently produced. By 1957 it was up to 57%. Pushed by the Paramount consent agreement and headed for TV, cut price films were being churned out. It's merely a coincidence that Hunt the Man Down was made in the middle of the noir era. A few years later and it would have been a cheap western or sci fi horror picture. Hunt The Man Down shares many of the budgetary virtues of other noirs: concise storytelling, brisk pacing, location shooting, lack of distracting sub-plots and themes, no nonsense acting. The cinematography is wonderful which is consistent with classic noirs and the direction is uninspired but competent which is all that's needed for a decent noir. The writing is passable because, as they say, the writer stole from the best. There is one superb line, however. A witness is in a bar drinking and Gig Young's father is trying to get him away by promising him better liqueur and the man agrees, saying "You're right, I've drunk better alcohol out of compasses". A jewel in a dung heap. Hunt the Man Down was also made during the black list era and what better a match-up than an outlaw writer and a cheap producer. I don't know if the writer was a front or if the script was subjected to a polish job by a blacklisted writer. Only time will tell.The courtroom denouement is more than just a little over the top but its all wrapped up so neatly and so quickly so where's the complaint? And Gig Young's father, a retired one armed police detective, is played by Harry Shannon who also played the father of Charles Foster Kane. If you love noirs you will enjoy this film but if you expect profound cinematic art you will be disappointed.

dougdoepke This RKO release is typical of the routine second-feature fare that TV would soon replace. It's a pretty pedestrian account of an innocent man (Anderson) being cleared of a murder charge by his Public Defender. There's quite a number of suspects, at the same time, the script muddles them in confusing fashion that takes away the guessing game. Young more or less walks through the undemanding role of attorney-defender, while the usually villainous Anderson gets a rare shot at a sympathetic role. Anderson is a familiar face from that era, especially from the popular Dragnet series. He's one of those unheralded actors with a strong presence that could spice up the dullest screenplay. Catch the early bar scene where he shows his trademark moody snarl, otherwise he's pretty much wasted. There's one scene, the "moment of truth" in the courtroom, where director Archainbaud rises above the script with a dollying shot of the unhinged Rolene (Balenda). It's a sudden, chilling camera move, and Balenda does well with the histrionics. Otherwise, this is the sort law and order melodrama that would soon be done on, say, Mr. District Attorney (1954).

modinesuggins It amazes me when people dismiss a movie because of its short length. I much more appreciate a compact, well written and directed movie than some drivel that drags on and on and makes me wonder what happened to the editor. I watched this movie with low expectations since i had never heard of the director and most of the actors. Despite the number of central characters, the director did an excellent job of quickly defining them and getting to the point of the movie. Any additional footage would have been superfluous and only bogged down the steady pace of the movie. James Anderson was excellent at avoiding the stereotypical unjustly accused victim, he neither ranted about his predicament nor did he come across as the overly likable guy who just happens to be at the wrong place at the wrong time, which is what is normally expected of that type of roll. Though it's hard to imagine a public defender putting as much work into the case as this one did, i thought it was a great bit of writing to make his pivotal discovery an accident despite the pd's dogged pursuit of those involved 12 years earlier. I highly recommend this movie to those who appreciate tightly written and economically directed movies.