Few people may have appreciated what John Fante and co-writers were trying to portray with this vast improvement on Nelson Algren's trashy novel. OK, perhaps it was not a good idea to use the title for this film as it was a total rewrite, and driven by far higher ideals than Algren possibly knew existed. As it's presented, we have an idealistic love story, played out during the depression - where struggling people are being torn apart by poverty and the difficulty of simply putting bread on the table. If you want trashy Algren, you won't find it here, and that may have been a mistake for the producers of this fine study of lost love. The superbly transferred B/W Columbia DVD uses a catch phrase on the cover; Love is better when kept secret. They miss the point; Love is only better when it's freely given - anything else is a sham that will eventually disappoint. Marvellous noir director Edward Dmytryk (Crossfire'47) works superbly with master veteran director of photography Joe McDonald ('The Sand Pebbles '66) together they create a mesmerizing visual cinematic treat. While the subject for its era was borderline taboo, its frank situations are handled with measured tastefulness - this did not sit well with the sensation seekers.
The entire cast is as diverse as it is dynamic with international performers matching it with locals. Classically trained Laurence Harvey, while some see as miscast, does well in the role of the son of a Texan minister - on the road searching for his lost love - his character is both honourable and sympathetic. Also excellent are Anne Baxter; a kindly Roadhouse owner, Barbara Stanwyck; as the domineering manager of a New Orleans bordello, Jayne Fonda; as a penniless tramp, Richard Rust; the bordello henchman - along with a string of handpicked professionals and newcomers including Capucine, who is far better than some would have you think, there's even Todd Armstrong (Jason, of the Argonaughts). All work well and add sparkle to the indeed dramatic proceedings. Production design & art direction play a big hand in setting the scene for 30's New Orleans with streets lined by vintage cars and trams.
This is one of Elmer Bernstein's big early scores, with themes reflecting the full gamut of life's emotions - the arrangements by legendry orchestrators Leo Shuken and Jack Hayes are sensitive and sparkling. Saul Bass's striking 'cat' main and end title design is not to be missed (and deserves to be thought about!) Brook Benton's fine vocals and rendition of the title song are truly inspiring. Not many critics seem to get this one right - forget the rest, put it to the test, you may be pleasantly surprised. Thanks Sony for the crystal clear DVD images and super High-Fi sound reproduction but, no thanks, for not including the terrific theatrical trailer, although, can perhaps understand this as the end disclaimer may have also sold this classic to the wrong audience - as distributor produced trailers often do!
The entire cast is as diverse as it is dynamic with international performers matching it with locals. Classically trained Laurence Harvey, while some see as miscast, does well in the role of the son of a Texan minister - on the road searching for his lost love - his character is both honourable and sympathetic. Also excellent are Anne Baxter; a kindly Roadhouse owner, Barbara Stanwyck; as the domineering manager of a New Orleans bordello, Jayne Fonda; as a penniless tramp, Richard Rust; the bordello henchman - along with a string of handpicked professionals and newcomers including Capucine, who is far better than some would have you think, there's even Todd Armstrong (Jason, of the Argonaughts). All work well and add sparkle to the indeed dramatic proceedings. Production design & art direction play a big hand in setting the scene for 30's New Orleans with streets lined by vintage cars and trams.
This is one of Elmer Bernstein's big early scores, with themes reflecting the full gamut of life's emotions - the arrangements by legendry orchestrators Leo Shuken and Jack Hayes are sensitive and sparkling. Saul Bass's striking 'cat' main and end title design is not to be missed (and deserves to be thought about!) Brook Benton's fine vocals and rendition of the title song are truly inspiring. Not many critics seem to get this one right - forget the rest, put it to the test, you may be pleasantly surprised. Thanks Sony for the crystal clear DVD images and super High-Fi sound reproduction but, no thanks, for not including the terrific theatrical trailer, although, can perhaps understand this as the end disclaimer may have also sold this classic to the wrong audience - as distributor produced trailers often do!