Robert Ryan's performance is understated but really good. As the film was developing it didn't feel all that special, tough cop chases some criminals and deals with various lowlifes, then gets sent off to the wilderness. It wasn't until the very end that the contrast between the film's two halves really hit me, the first being a descent into inhumanity, and the second a return to humanity. I wish it were less disjointed but any given part is strong enough to hold its own.

A film with almost split personalities. The first half is a pretty hardcore film noir, with Robert Ryan playing a dirty cop in a New York City that pretty much never sees the light of day. While the film doesn't completely lose its noir sensibilities in the second half, Ryan's character doesn't have the edge he did in the beginning, and there are some hammed-up themes of redemption. Even if it trips up a bit as a noir, it's still a pretty good movie though.

It's a pretty good movie, but if it's noir, I'm Harvey the rabbit. The first half sets up a nice premise with Ryan as an aggressive cop with a volatile temper, and then essentially abandons the character in the second half. He abandons his aggression and becomes a caring, level-headed sort, which is fine, but it feels like his conversion is really rushed and it totally changes the tone of the movie. It's still solid, but could've been much more interesting.

"Well, the weather outside is frightful / And my blind noir dame is so insightful / No more human-garbage dog show / Let it snow let it snow let it snow."

The setup, Ryan playing a rogue policeman who takes a liking to beating up suspects, is fine, even if the character revelation is a bit obvious. Things take a wrong turn to the pathetically dramatic, though, when he is transfered to a rural location and takes an interest in Lupino's blind lady. Both performances are acceptable, I guess, but definitely on the theatrical side.

Starts out gangbusters: hardened cops, rain-slicked streets, cheap floozies and snappy dialogue. And then it turns into a tense manhunt. And then... kind of a sappy melodrama. Noir purists may complain about the Ida Lupino segments of the film, but she's important to the redemptive arc. They weren't my favorite parts of the film, but I didn't really mind them so much. The most impressive aspect of the film is Herrmann's stellar score, which sounds much like his later work on North By Northwesst.

I don't like the plot's conclusion, but the rest of the movie is wonderful.