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On Dangerous Ground

  • 1951
  • Approved
  • 1 Std. 22 Min.
IMDb-BEWERTUNG
7,2/10
8806
IHRE BEWERTUNG
Ida Lupino in On Dangerous Ground (1951)
Trailer for this black and white classic
trailer wiedergeben2:11
1 Video
88 Fotos
Drama für JugendlicheEine TragödieFilm NoirPsychologisches DramaDrama

Der raue, gewalttätige stadtpolizist Jim Wilson wird von seinem captain diszipliniert und in eine verschneite bergstadt im Norden des staates geschickt, um dem örtlichen sheriff bei der aufk... Alles lesenDer raue, gewalttätige stadtpolizist Jim Wilson wird von seinem captain diszipliniert und in eine verschneite bergstadt im Norden des staates geschickt, um dem örtlichen sheriff bei der aufklärung eines mordfalls zu helfen.Der raue, gewalttätige stadtpolizist Jim Wilson wird von seinem captain diszipliniert und in eine verschneite bergstadt im Norden des staates geschickt, um dem örtlichen sheriff bei der aufklärung eines mordfalls zu helfen.

  • Regie
    • Nicholas Ray
    • Ida Lupino
  • Drehbuch
    • A.I. Bezzerides
    • Nicholas Ray
    • Gerald Butler
  • Hauptbesetzung
    • Ida Lupino
    • Robert Ryan
    • Ward Bond
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,2/10
    8806
    IHRE BEWERTUNG
    • Regie
      • Nicholas Ray
      • Ida Lupino
    • Drehbuch
      • A.I. Bezzerides
      • Nicholas Ray
      • Gerald Butler
    • Hauptbesetzung
      • Ida Lupino
      • Robert Ryan
      • Ward Bond
    • 135Benutzerrezensionen
    • 73Kritische Rezensionen
    • 78Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 wins total

    Videos1

    On Dangerous Ground
    Trailer 2:11
    On Dangerous Ground

    Fotos88

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    Topbesetzung62

    Ändern
    Ida Lupino
    Ida Lupino
    • Mary Malden
    Robert Ryan
    Robert Ryan
    • Jim Wilson
    Ward Bond
    Ward Bond
    • Walter Brent
    Charles Kemper
    Charles Kemper
    • Pop Daley
    Anthony Ross
    Anthony Ross
    • Pete Santos
    Ed Begley
    Ed Begley
    • Capt. Brawley
    Ian Wolfe
    Ian Wolfe
    • Sheriff Carrey
    Sumner Williams
    Sumner Williams
    • Danny Malden
    Gus Schilling
    Gus Schilling
    • Lucky
    Frank Ferguson
    Frank Ferguson
    • Willows
    Cleo Moore
    Cleo Moore
    • Myrna Bowers
    Olive Carey
    Olive Carey
    • Mrs. Brent
    Richard Irving
    • Bernie Tucker
    Patricia Prest
    • Julie Brent
    • (as Pat Prest)
    Roy Alexander
    • Town Resident
    • (Nicht genannt)
    Frank Arnold
    • Man
    • (Nicht genannt)
    Vince Barnett
    Vince Barnett
    • George
    • (Nicht genannt)
    Leslie Bennett
    • Newsboy
    • (Nicht genannt)
    • Regie
      • Nicholas Ray
      • Ida Lupino
    • Drehbuch
      • A.I. Bezzerides
      • Nicholas Ray
      • Gerald Butler
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen135

    7,28.8K
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    7evanston_dad

    Fascinating But Uneven

    "On Dangerous Ground" is a strange, schizophrenic film that straddles the fence between film noir and romantic melodrama, managing to be both and neither at the same time. It has the same otherworldly quality that director Nicholas Ray frequently brought to his films, but ultimately I'm not sure whether it's successful or not.

    The first half of the film finds brutal cop Robert Ryan stomping around the mean streets of a dark, brooding city, his abusive approach to meting out punishment keeping him only one small step from becoming the kind of criminal he spends his time tracking down. These early scenes are the most fascinating ones in the film, though (or maybe because) they have really nothing to do with the film's main plot and are all about developing the character of Ryan. He cruises around dark streets, the camera placed in the back seat of his car, filming the passing street as he is seeing it, his eyes reflected in the rearview mirror (Martin Scorses borrowed this kind of shot for "Taxi Driver" perhaps?) What emerges is the portrait of an isolated and lonely man barely maintaining a grip on his sanity in the midst of an insane world.

    But the second half of the film dissipates the claustrophobic tension of the city environment by sending Ryan out into the country to investigate the murder of a young girl. He stumbles into the home of a blind woman (played by Ida Lupino looking like Loretta Young) and strikes up a timid romance with her, her gentleness and trustworthy nature providing just the antidote his jaded sensibilities need. Will their romance work, or are the two worlds they're from too different? There's much of interest about the portion of the film set in the country. The idea that the kind of crime traditionally reserved for the back alleys of city slums could be working its way into the great nowhere had to have been an uncomfortable idea for post-war America. And the crazed, vengeful father of the murdered girl is a far cry from the simple, kind souls we like to think people the American heartland. And Ray creates a visual interest in the country scenes as well. The harsh, barren landscape looks like the surface of the moon, no more inviting than the sinister, shadowy city streets to which it's juxtaposed.

    But I got bored with the romantic plot line, and felt it was out of place in a film like this. And the ending especially didn't sit well with me. It seemed much more likely that Ryan would return to the streets he knows so well and continue his lonely existence, rather than come back to the love of a good woman in a cozy cottage in the middle of nowhere. I felt cheated, and wished that the ending could have had the guts that the rest of the film did.

    A fascinating film in its own right, but a flawed one. You can't watch it and not think of the opportunities missed.

    Grade: B+
    8hitchcockthelegend

    Garbage, all we handle is garbage.

    On Dangerous Ground is directed by Nicholas Ray and stars Ida Lupino, Robert Ryan & Ward Bond. It's loosely adapted by Ray and A. I. Bezzerides from Gerald Butler's novel Mad With Much Heart. Cinematography is by George E. Diskant & the music is provided by Bernard Herrmann & Paul Sawtell. The story concerns Ryan's weary, lonely and psychologically bothered cop, Jim Wilson. Who after finally snapping the patience of his superiors is sent to Westham in the rural north to aid a murder case there. The idea is to get him off the streets he's so bitter about and to stop him finally going over the violence tinged edge. It's here, amongst the wintry landscapes, that he is brought into contact with Mary Malden (Lupino). A practically blind woman, Mary holds all the keys to the mystery and to the door at the end of Wilson's journey.

    Right from the outset we are in no doubt that Nicholas Ray is about to take us on a noir journey. Herrmann's pulse like score accompanies its nighttime opening, Diskant's photography immediately painting a harsh city where life on the streets is tough. A place where loneliness can eat away at the soul and bleakness pours down off of the bars and the cheaply built apartments. It is in short, firmly encapsulating of Jim Wilson's bitterness and frame of mind. Wilson, once a prime athlete, is mired in solitude, his only telling contribution to society is his work, but that is ebbing away by the day. His mood is not helped by his partners, Pop & Pete, who can easily switch off once their shift has finished - but they have family to go home to, Wilson does not. Wilson's only source of joy comes courtesy of the paperboy he briefly plays football with out on the street (a rare ray of light in the film's moody atmospheric first half).

    Then the film shifts for its second act, a shift that has made On Dangerous Ground a most divisive picture in discussions over the years. Sent north to effectively cool down by Captain Brawley (Ed Begley), we find Wilson leaving behind the dank city and entering the snowbound countryside in the north. Dark has become light as it were. The whole style and pace of the film has changed, yet this is still a place tainted by badness. A girl has been murdered and Wilson is still here to locate potential evil. An evil that the murdered girls father (Ward Bond as Walter Brent) wants to snuff out with his own vengeful fury. As the two men track down the killer, Wilson sees much of himself in Brent's anger, but once the guys arrive at Mary Malden's isolated cabin, things shift just a little more.

    Said to be a favourite of Martin Scorsese, and an influence for Taxi Driver, On Dangerous Ground has often been called Nicholas Ray's best film by some of his fans (I'd say In A Lonely Place personally). Odd then that Ray himself wasn't happy with the film, calling it a failure and not the finished product he had envisaged. Ray had wanted a three structured movie, not the two part one it is; with the final third being far bleaker and more noirish than the one we actually get. However, and the ending is a bit scratchy for the genre it sits in, it's still a fabulous film that is more about the journey of its protagonist than the diversity caused by its finale. Ryan is terrific, a real powerhouse and believable performance, while Lupino beautifully realises Mary's serene impact on Wilson and the counter opposite to the darkness within the picture. It's a given really, but Herrmann's score is potent, listen out for the opening, the crossover section from city to countryside and the rock face pursuit. While Ray directs with his customary knack of blending the grim with the almost poetic. 8/10
    8claudio_carvalho

    Loneliness, Trust and Redemption

    The lonely and tough Jim Wilson (Robert Ryan) is an efficient detective that frequently uses excessive violence to resolve his cases and even his partners do not approve his behavior. While chasing two cop killers, he blows the bladder of another suspect during the interrogation to get the information to catch the assassins. He is warned by his chief Captain Brawley (Ed Begley) to cool off, and when he beats another suspect on the street, Brawley sends him "upstate to Siberia" in the cold Westham to calm down and help the locals in a murder case of a girl. When he arrives, he visits the family of the victim, whose father Walter Brent (Ward Bond) is decided to kill the murderer. They chase the man through the snow, and after a car accident, they reach the isolated house of Mary Malden (Ida Lupino), a blind woman that lives alone in the middle of nowhere with her brother Danny (Sumner Williams) that has mental problem. Brent and Jim are lodged by Mary to spend the night, and Jim is affected by Mary in a process of humanization and redemption.

    "On Dangerous Ground"is a simple movie with a tale of loneliness, trust and redemption developed through two totally different characters that have only loneliness in common. Jim Wilson lives in the big city, is brutal, trusts nobody and is in the edge in his career, acting like a gangster wearing a badge. Mary Malden lives in the countryside, is gentle, has to trust everybody and sacrificed her chance to see again to take care of her mentally unstable brother. The process of humanization of Jim Wilson is depicted through his relationship with Mary and is very touching. Ida Lupino and Robert Ryan have great performances under the direction of Nicholas Ray in this credible story. My vote is eight.

    Title (Brazil): "Cinzas Que Queimam" ("Ashes that Burn")

    Note: On 14 January 2017, I saw this film again.
    7cowboyandvampire

    Dames, without angles: the most dangerous kind

    Detective Jim Wilson is a good cop mired in a bad world of hustlers and pimps and crooks. He has a black and white sense of right and wrong, but he's trapped in infinite shades of gray — a garbage handler, as he self-identifies, who spends his days and nights thankfully cleaning up the trash on the mean streets. He's got pencil-pushing bureaucrats breathing down his neck, and every dame who crosses his path has angle. But he gets things done, he rights wrongs, usually by beating bad guys into submission. In other words, he is an archetype for every bad man on a good mission and this movie is a blue print for every renegade copy movie ever made thereafter.

    And as is this case in almost every one of those cop movies thereafter, the world is quickly changing around him and in the new world, you can't solve all your problems with your fists — or, as in more modern movies, with a gun. (Side note: apparently things don't change too quickly much because this story line is still alive and well.) After a particularly brutal scene in which the sympathetic, sadistic cop beats a confession out of a craven, seemingly masochistic criminal, he draws the ire of his commanding officer who sends him upstate to a rural area gripped in an icy winter. A girl has been murdered and the locals, especially the father, aim to settle the score. Everything in his gritty, urban background has readied him to dole out some sympathetic justice, but there's just one problem — in the course of the investigation, he meets a dame without an angle: the beautiful, and blind, Mary Malden (played by Ida Lupino).

    Her mentally challenged brother is a suspect and Jim and the victim's father are forced wait out the night at Mary's house. For a man who has seen too much and trusts no one, he can't help but fall for the lovely Mary who has can't see anything and is forced to, as she admits, trust everyone.

    More modern sensibilities are used to (numbed by?) a direct visual treatment of passion, but the muted approach in this movie heightens the impact. When their hands touch, we are treated to a moment of romantic discovery that surpasses all the heat and energy of the currently more popular bra and pantie clad tussling between love interests.

    The movie is shot in a jumpy, jerky way (mumblenoir?) with crackling dialog, adds to the tension, sense of foreboding and drama. And the car chase — sliding along icy roads — was well-executed. For such a short movie (82 minutes), it covers a lot of territory — from the heart of the city to the emptiness of the wilderness, and from cynical resignation and brutality to hope and redemption.

    -- www.cowboyandvampire.com --
    Infofreak

    Is it a thriller? Is it a character study? Romance? One of the most interesting movies of the 1950s with another superb performance from Robert Ryan.

    'On Dangerous Ground' is a very original and striking movie, one of the most interesting to come out of 1950s Hollywood. The movie is in two halves. The first is urban and sees Robert Ryan play Jim Wilson a brutal but seemingly moral cop who appears to be on the brink of a complete breakdown. His character could well be the toughest cop ever seen on screen until the early 1970s heyday of Dirty Harry and Popeye Doyle,etc. The second half is rural, with Wilson being sent out of the city to investigate the murder of a young girl (shades almost of Stellan Skarsgard in 1997's 'Insomnia'). There he encounters a local blind woman (Ida Lupino), the sister of his number one suspect. The first half is as I said, extremely tough, the second half is ALMOST a mystery (yet it's obvious who the murderer is), and ALMOST a romance (but handled in a very subtle and "unHollywood" way). It's an odd combination but really works because the script lacks cliches, Nicholas "Rebel Without A Cause" Ray's direction is very fresh and inventive, and the acting is first rate. Lupino makes the most of her supporting role, as does Ward Bond ('The Searchers') as the father of the murdered girl, and Sumner Williams as Lupino's disturbed younger brother, but Robert Ryan steals the movie. I'm beginning to regard Ryan as one of the most underrated screen actors of all time. Just watch him in this, the boxing classic 'The Set-Up', 'Crossfire', 'Bad Day At Black Rock', and of course, 'The Wild Bunch' and see what I mean. 'On Dangerous Ground' deserves a much larger audience. Highly recommended.

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    Handlung

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    • Wissenswertes
      A hand-held camera was used in many scenes to give a "live action" feel to those sequences. This was extremely rare in feature films of the time.
    • Patzer
      During a night scene, chickens are moving about outside. Chickens don't come out at night.
    • Zitate

      Mary Malden: Tell me, how is it to be a cop?

      Jim Wilson: You get so you don't trust anybody.

      Mary Malden: [who is blind] You're lucky. You don't have to trust anyone. I do. I have to trust everybody.

    • Verbindungen
      Featured in Music for the Movies: Bernard Herrmann (1992)
    • Soundtracks
      Danceland Jive
      (uncredited)

      Music by Roy Webb and Gene Rose

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    Details

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    • Erscheinungsdatum
      • 12. Februar 1952 (Brasilien)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • Odio en el alma
    • Drehorte
      • Granby, Colorado, USA
    • Produktionsfirma
      • RKO Radio Pictures
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    Technische Daten

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    • Laufzeit
      1 Stunde 22 Minuten
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.37 : 1

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