You Ain't Seen Me, Right? - Crossfire (1947)

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Crossfire (1947)

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Edward Dmytryk's Crossfire shares many similarities with a film that was also released in 1947, Elia Kazan's Gentleman's Agreement, which met with great acclaim - winning three Oscars, including Best Picture - and was regarded as the more 'important' of the two films dealing with anti-Semitism. But over time Crossfire has come to be thought of as the superior work, standing the test of time in a way Kazan's platitudinous 'message' film has failed to.

When a man is found murdered in his apartment, Homicide Capt. Finlay (Robert Young) must determine which of a group of demobilized soldiers is responsible for his death. Suspicion initially falls on Mitchell (George Cooper), a young dreamer with an artistic temperament whose wallet is found at the scene. Other suspects are the glib Montgomery (Robert Ryan) and the jaded Keeley (Robert Mitchum). As Finlay delves deeper, he begins to unearth an ugly motive behind the crime.

Crossfire thematically expands the parameters of Film Noir beyond gumshoes and femme fatales, but stylistically it resides in familiar territory, beginning in typical Noir fashion with two ominous shadows. Multiple flashbacks and Germanic lighting patterns figure throughout. Single light sources - lamps, street lights, etc - are used to illuminate the sets, creating dramatic, figurative light and shade. The grimy, oppressive environs of the RKO soundstage heighten the sense of disorientation that is a central Noir motif. This is a world of sparse hotel rooms, rain-slicked sidewalks and seedy bars where danger lurks around every corner. Dmytryk's scrupulously detailed shot compositions are complemented by cinematographer J. Roy Hunt's crisp depth of field and skilled camerawork, packing the screen with detail and propelling the tangled narrative with its slow zooms and fluid pans.

Legendary hell-raiser Mitchum delivers a performance of rare focus, engaging with the role of the world-weary cynic who abandons his ambivalence to come to the aid of his imperilled comrade. Ryan steals the show as Montgomery; a bully who presents an affable front to the world, but carries a deep hatred in his heart. His leading man good looks add a further chilling dimension to his portrayal of an ugly bigot. Gloria Grahame - one of the great underrated screen sirens - is also noteworthy as Ginny; a lonely, embittered 'hostess' whose move to the big city has not gone as planned. Grahame's doleful countenance and downcast delivery lend pathos to a character that couldn't be further from the predatory vixens that dominate the genre.

It's difficult to convey how dangerous Crossfire was on its release. The film asks some difficult questions about domestic Fascism in the wake of World War II. The soldiers are not portrayed in the honourable light they were throughout the war in countless propaganda pieces. They see military service as a means of 'making dough', while resenting the lack of appreciation for their sacrifice. Crossfire explores a time when, without an enemy to occupy it, America turned on itself, when the melting pot threatened to boil over into persecution and violence.
That's all for now - take your newfound knowledge to the nearest bar and show off to the ladies. More from You Ain't Seen Me, Right? next Friday.