Roy 'Mad Dog' Earle is broken out of prison by an old associate who wants him to help with an upcoming robbery. When the robbery goes wrong and a man is shot and killed Earle is forced to go on the run, and with the police and an angry press hot on his tail he eventually takes refuge among the peaks of the Sierra Nevadas, where a tense siege ensues. But will the Police make him regret the attachments he formed with two women during the brief planning of the robbery.Written by
Mark Thompson <firstname.lastname@example.org>
John Huston's script was returned to Warners by the censors with over 40 objectionable references. They were largely ignored by Jack L. Warner, who wanted to protect the "spirit" of the story. However, the Code was firm on the ending. Gangsters, no matter how sympathetic they might appear at times, had to pay for moral transgressions on the screen. In other words, death or life in prison was their only option. See more »
The first morning after Roy arrives in the Camp, he is shaving right before Marie comes in to the cabin. His progress shaving changes between shots. Roy is alternating between shaving the right side and then the left side. Then he's back to shaving the left side, but it hasn't been touched. When Marie comes in, it's almost done, then suddenly it's all clean and dry. See more »
[Marie crosses the crime scene line]
What's the idea you? get back where you belong! Anybody else tries they'll get run in... see?
[sees Marie crying approaches her]
What are you up to sister? Why did you try to get through this line? What did you mean to do? have you a little dog in that basket? A grey and white dog?
[Picks up basket and checks himself]
[signals the officer to come over]
What's the matter with her?
Roy Earle has been traveling with a girl called Marie.
Sure I know that. what about...
[...] See more »
Opening credits curve over the mountain-top valley of the background, as the wind would do. See more »
Also available in a computer colorized version. See more »
A sublime film. Probably one of the most melancholic pictures ever made in the classic period. It is one of the earliest and strongest portraits of the tragic hero, so recurrent in Walsh's filmography. Bogart's character, a mournful, resigned old-timer who witnesses the gradual downfall of the world as he knows it, dresses in black all through the film, like the mute and only assistant to his own funeral. As other Walsh anti-heroes notably White Heat's Cody- he must reach the heights before him dies. One wonders what would have been of the Bogart, Cagney, Flynn or Raft persona without their significant roles in the Raoul Walsh films. It's remake, Colorado Territory, is even better.
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