michaelchager

This explores the intimate connection between police and informant in a super violent neighborhood. From 1949 this is what a movie looks like and it can do no wrong. The Johnson - De Haven connection is unique but amidst 10 or 15 other intimate relationships all there and explored. Arlene Dahl provides the MGM normalcy as a time out from the unceasing gangster - police dance. Like when a crook learns he's under arrest he is relieved not to be captured by those who would kill him although arrest doesn't provide any safety from the killing spree. Arlene Dahl reflects the comfortable MGM viewpoint that Johnson does not need to get so involved with the type of individual who is relevant to a homicide investigation. After all World War Two is over. However this is a type of war movie where someone like Johnson or Drake cannot sit idly by when they are trained and called upon. This remains relevant today where civil society is the prime target of criminal plots.

Not a great script. Hitchcock had a strong sense of humor in NNW as well as perfect visual storytelling. Wilder's improv skills might have been better used if he were required to play several characters as could Peter Sellers. Here the drum beat of panic grates even if there are some good scenes. Even the 3 Stooges had timing figured out to build to the action. Casting Mel Brooks as the villain might have saved this by giving a vaudeville context. There's not nearly enough here of stopping the stupid plot to insert some laughs. If this isn't funny much with this cast then it asks a lot of the audience to get no satisfaction. And romantically after you withdrew Quinlan from the action why should I go on watching? This departs from the winning formula of NNW where love discovered on the run makes for romantic comedy.

That was Nick Fatool on drums in a duet with Artie. There is about a hour of extra plot that can be fast forwarded past. The concept is a loser because with this constellation of talent no need for so much plot. Excise the Burgess Meredith scenes and you get a dark comedy in which he is the star. Take Astaire with Goddard dancing and not bad at all. Great inside views of the Shaw orchestra with about 10 violins plus a full dance band. Artie is brilliant in his solos and his orchestra is perfection. But as Crowther implied, with this talent it should have been brought forth on screen in every scene. Goddard is sparkling but wasted in an overlong tedious movie. Dingy poverty row production values. Astaire is the victim of the unfunny script, there are no laughs here, seemingly a low point in his career despite being in top form as dancer and singer.