Sometimes you just can’t catch a break. As if fate itself is against you, the dominoes fall, one at a time, each bringing with it another problem that places you in a further bind. Increasingly more Desperate (1947), you have to measure every step appropriately, for the tagline dramatically suggests, “MURDER at any moment! SUSPENSE. . . in every step!!!”.
A film noir directed by Anthony Mann (he is also co-credited for the story along with Dorothy Atlas), our unlucky man is Steve Randall (Steve Brodie), a vet who has just returned from World War 2. Though he has married and found a job (as a truck driver), the next domino falls when a wily criminal gang, led by Walt Radak (Raymond Burr – yes, Perry Mason himself), reaches out to him for his driving skills and giant vehicle (on his anniversary, no less).
Desperate for the money (but having no clue that it is illegal), he soon finds his vehicle packed with stolen goods, a cop on the beat popping up and firing at the criminals (after he alerts him by flashing the vehicle’s lights). Fleeing the situation as the officer is killed, and stranding Radak’s kid brother – leaving him in a more than perilous situation, Randall is not only labeled as one of the gang, but has also infuriated the kingpin. . . for his brother now finds himself in the hands of the coppers.
Grabbing his wife, Anne (Audrey Long), and going on the lam, he has no clue that his wife is actually pregnant. . . usually a joyous moment, when he does find out, it is just one more concern for the panicked man (who knows all too well that she will be a major target of Radak’s).
The striking one sheet poster for Desperate
Utilizing trains, buses, cars, and their own feet to stay ahead of both the police (the case is in the hands of nonchalant Detective Ferrari – played by Jason Robards Sr.) and the criminals, they eventually find their way to Anne’s aunt and uncle, Klara (Ilka Grüning) and Jan (Paul E. Burns) – farmers living on the outskirts of a small rural town. Though Randall knows this is the not the end, he at least hopes that his wife will be safe while he tries to deal with this ever escalating situation.
With more style than a top architect’s own home, Mann and cinematographer George E. Diskant fill each and every frame with intriguing visuals (though impressively, this never takes away from Mann’s skillful storytelling – you get both style and substance here). Usually you’re lucky to find one or two really special moments, but this one has so very many. There is a sequence when lighting and violence come together. . . a lamp swinging violently when the gang dish out an equally as vile punishment (some of the best cinematography you will see). Then there is a tense moment of impending death revolving around a clock ticking towards midnight. . . the camera slowly zooming in on each player and their respective faces. . . from full visage until we are only left with the tightest framing of just their telling eyes. You also get threats being dished out by a menacing Radak – I use the word dished, for he is intimidating an elderly couple as he slices a piece of turkey (the lady herself made) with a giant knife. In fact, there are little touches of humour littered throughout the script. . . moments that ease its intense tension, and funnily enough, it often revolves around food. Lastly, you cannot forget the climactic shootout. . . a multi-storied gunfight that takes place in a dark and moody apartment building staircase.
Fast paced, entertaining and engaging, Desperate is what noir should always be. . . dynamic lighting, an abundance of style, and a more than serviceable story. An RKO B movie, it definitely doesn’t look like it – having everything you could ever want in a motion picture. So, be desperate to find this stunning film noir, it’s no turkey.