HEFILM Great film nourish photography and grim world view in this film. All the performances are fine. Sparse music score is very effective and uses some tunes on a radio to good effect too. Approach to racial issues and poverty still seem true today in a realistic not preachy way. This is more film noir than political in nature--a major plus.Darnel is a stand out. The situation is interesting. Racial elements still spark heat even today or maybe even more heat as the politically correct 21st century wouldn't let the racism be as raw as it is here.My only complaint is a plot contrivance towards the end and then Widmark struggling with an over the top (writing wise) psycho coward villain ending that probably seemed a little fresher back then. It's not the actor's fault it's the concept and writing that just don't work.It's kind of like they wanted a "thriller" ending and the film would have done better with a more personal or internal conflict than the melodramatic way it goes. Also I see from the trivia section that the studio forced a change to the ending and this hurts as well.Too bad as it almost spoils a grade A movie. Still a film that deserves to be better known today, even if it stumbles in the final lap.

tavm In continuing to review African-Americans in film in chronological order for Black History Month, we're back in 1950 when a young 22-year-old actor named Sidney Poitier makes his feature film debut in a major motion picture with Richard Widmark as his co-star. Poitier is Dr. Luthur Brooks, who is just starting his practice in the county hospital. Widmark is Ray Biddle, a racist criminal who blames Dr. Brooks for killing his brother in front of him when in reality he was trying to save him. Instead of revealing any more about the plot, I'll just say what great dramatic tension comes whenever these two are together especially when they come to a head at the end. Also adding greatly to the proceedings are Linda Darnell as Ray's brother's former wife who goes back and forth on her loyalties, Stephen McNally as Luthur's superior-Dr. Wharton, Harry Bellaver as George Biddle-Ray's other brother who's deaf and dumb, and Dot Johnson as orderly Lefty Brooks who tells a compelling reason to Poitier why he's attending a riot with his fellow dark-skinned brothers against Ray's fellow white bigots. Even today, No Way Out can fill one with shock at what is said and done here. So on that note, that's a high recommendation. P.S. Among the other people of color in the cast: Mildred Joanne Smith in her only film appearance as Luthur's wife Cora, J. Louis Johnson as an elderly man who also works at the hospital, husband and wife Ossie Davis (in his film debut) and Ruby Dee as brother John and sister Connie Brooks, Maude Simmons as the mother of all three Brooks siblings, and Amanda Randolph as Dr. Wharton's housekeeper Gladys. About the last one, I've now seen this sister of Lillian Randolph-one of the players of my favorite movie, It's a Wonderful Life-in such black-oriented fare as The Black Network, Swing!, and-just several days ago-in Lying Lips not to mention in several eps of "Amos 'n' Andy" as Sappire's mama. And now, for the past few days and hours, I've also seen Dot Johnson and J. Louis Johnson in Reet, Petite, and Gone not to mention Ruby Dee in The Jackie Robinson Story. I've also looked at the list of movies many of them made after this one that I plan to review the rest of this month and am now looking forward to anticipating whatever surprises await when the time comes. It should be interesting, that's for sure!

seymourblack-1 This 1950 movie is a powerful drama which confronts the issue of racial hatred in a way which is far more direct and challenging than was typical for its time. It's provocative, forthright and didactic and infers that the root of racism is ignorance and that education is the solution. Some of the racist language used is deeply offensive and unacceptable in contemporary society, however, its presence here is relevant and strengthens the impact of the story and the film's "message".When two wounded criminals who were each shot in the leg during an attempted robbery are brought into the prison ward of a county hospital, they're attended to by Dr Luther Brooks (Sidney Poitier). Ray Biddle (Richard Widmark) immediately directs a barrage of racial insults at the black doctor who begins to get increasingly concerned about the condition of the seriously disorientated Johnny Biddle (Dick Paxton). He quickly forms the opinion that Johnny has a brain tumour and administers a spinal tap. Johnny dies very soon after and brother Ray accuses the doctor of murder.The inexperienced doctor is anxious to confirm that his diagnosis was correct and speaks to the chief medical resident Dr Dan Wharton (Stephen McNally) about getting an autopsy carried out. Wharton explains that this would only be possible with the consent of Johnny's family. Ray is unwilling to give his approval and the head of the hospital is also unable to support the idea because he's anxious to avoid any adverse publicity which might follow.Edie Johnson (Linda Darnell), Johnny's ex-wife (who'd previously had a fling with Ray) is then approached by Wharton and Luther who persuade her to visit Ray to discuss an autopsy. Ray isn't willing to cooperate and tells her that she can atone for being unfaithful to Johnny by informing Rocky Miller (Bert Freed) about the circumstances of Johnny's death. Miller is a resident of Beaver Canal which is the city's white slum neighbourhood where Ray, Johnny and Edie all grew up and he becomes instrumental in a sequence of events which culminate in a major race riot.Luther eventually forces an autopsy to be carried out by going to the police and claiming that he was responsible for killing Johnny. The autopsy confirms that the diagnosis and the treatment given were both correct. This outcome doesn't end Luther's problems, however, as Ray reacts by accusing the doctors of a cover up and then sets up a plan to kill Luther.Richard Widmark gives a towering performance and conveys with incredible power, the sheer intensity of Ray's hatred. His fanatical rants and irrational outbursts of abuse are delivered with such force and conviction that there's absolutely no doubt about the depth of his character's despicable and malicious nature. Sidney Poitier is also impressive in his screen debut as a man who lacks confidence but also remains remarkably patient, tolerant and dignified in the face of the welter of appalling insults which are so consistently directed at him. Linda Darnell is also good as the conflicted and confused Edie who's naively used by Ray to trigger the race riot.Whilst things have moved on a great deal since "No Way Out" was made, it still packs a punch as a potent and hard hitting snapshot of people's attitudes and the social tensions which they created in the early 1950s.

MartinHafer NO WAY OUT is one of the best films about race prejudice that Hollywood ever made. One of the reasons this is so is because of the crude, evil and unflinching language used throughout the movie. If the movie were made now, it would most likely be sanitized--and that's a shame, as the vileness and stupidity of racism is diminished when film makers censor their message in order to avoid offending people. This movie is patently offensive--and because of that, it succeeds in telling a story that really packs an emotional wallop.Sidney Poitier plays a young doctor who was unfortunate enough to treat two brothers who are thieves on the jail ward of the hospital. Unfortunate, because one brother dies (through no fault of the doctor) and the other is such an insane racist (Richard Widmark) that he is sure the doctor killed his brother--though it's only because Poitier is black that he believes this. In Widmark's view of the world, blacks are garbage and he gives this doctor nothing but hatred and disrespect. Even when it is proved that Poitier did NOT kill this patient, Widmark is determined to get revenge...one way or another. There's a heck of a lot more to the plot than this, but I'll hold back so I won't spoil the suspense. And, speaking of suspense, this is one of the tensest films I've seen in some time--it kept my interest every minute.Some performances are worth noting. First, Stephen McNally plays one of his rare performances as a nice guy. Usually, he played heavies--gangster types. Here, he plays a fine human being--and I was shocked to see this. Second, Richard Widmark really did a great job. I know in real life he was a very liberal man and a champion of causes such as race relations. Yet, you'd never know it based on this venomous performance--he is one of the nastiest, if not the nastiest, racist I've seen on film. He gave a very ugly face to white supremacy--and showed just how sick racism is. As for Poitier, he was just great--as you'd naturally expect. I was just surprised that this was his first Hollywood type role--he seemed like an experienced vet.I think, however, the biggest stars of the film are the screen writers (Joseph L. Mankiewicz and Lesser Samuels) and director (Mankiewicz once again). The screenplay was simply amazing--convincing, taut and believable. The direction was also first-rate--something you'd expect from the same guy who brought us classics like ALL ABOUT EVE and A LETTER TO THREE WIVES. One scene in particular that I loved was when the flare was fired. That long pause as everyone was just frozen before the race riot began was brilliant--many directors wouldn't have used the pause and would have missed this chance to build the tension.A great film.