On Dangerous Ground

An anti-noir as it exposes the dependency of noir on the alienation and loneliness of the urban life. What makes a film "noir" is the darkness of crime, dirt, and isolation of the city life. Once you take the camera to the natural goodness of the countryside, even though you don't have a clear sight (hence blindness), you have anti-noir, a film-blanc (snow, youth, innocence, and care) if you will. Ray's originality lies in his conscious and reflexive storytelling. Another great Ray movie.

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.

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.

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.

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.

"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."

At a quick 82 minutes, I could still partially recommend it for its amazing cinematography and a strong first act in the city, but ultimately this a slight, lightweight movie that was trying to be much more. Ryan's brutal, justice by any means character is turned IN THE VERY SECOND he meets another man like himself out in the rural country and from there it's a boring slog through snow, relieved only by the always amazing Ida Lupino

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.

This is kind of a movie in two halves. The first is pure noir, with a cop with an anger management problem brought about by all the horrors he's seen on the job. He's sent on a case to the country to cool down and the contrast between the two settings is stark. He meets a blind woman played by Ida Lupino. In the second half things almost resemble a silent movie at times stylistically, especially with Lupino's performance. Ryan gives a good, subtle performance as well. Great.

Some seventy-five years ago, there was a film about police brutality, mentally-deficient suspects, and one that even promoted disability rights. I liked the grittiness of the first half -- Ryan making a good "bad cop" -- but parts felt like it was going to turn into a saccharine moral tale. In fact, it didn't, but the odd turn into romance didn't quite click for me.

This is an interesting film, although it can be a lite bit over melodramatic sometimes. Ida Lupino gives a really good performance in this film. Overall I would recommend this film.

Pretty pointless. As a TV episode of "Dragnet" or something, it would be passable. But as a movie? It's just nothing. Short and forgettable.

Puzzler as so unusual but well played. Maverick, completely disillisioned, hard nose city cop (in 1st part) is sent bush till (a) he cools it (b) the heat dies down from his latest beating of a suspect (2nd part). Tho plot becomes somewhat hokum from here (tho remainder completely watchable), he's redeemed by blind sister of bush perp and relentlessly vindictive pa of the victim (perhaps seeing his city-side doppelganger in him, thanks ribcage, member here). Some allowances needed for it's age.

Besides being a ruthless crime buster, it's also a unglamorous romance story. The best thing about On Dangerous Ground (1951) is the way it's shot. Always up-close and intimate, packing them like sardines to get them all in the shot. Becomes a very expressive film. One that doesn't bullshit around.

Didn't get into the mood for this; a common problem with films that don't succeed in their attempts at being powerful.

germanic allegory which starts out indebted to lang and murnau but eventually reveals its muse was borzage all along. schrader was taking notes and cribbed it for bickle in TAXI DRIVER and the climactic scene of FIRST REFORMED, but he could never sell a leap of faith as well as ray does here, helped by a herrmann score so intensely expressive it trembles (wish ray had worked with the GOAT more often). nowadays i think this beats out IN A LONELY PLACE as my favourite of his B&W films.

The first half is an amazing depiction of the hard-boiled life of cops in inner city America in the 50s, the second half shift gears completely into a slower character study in a rural landscape. The movie works because of the contrast between the two halves and how Robert Ryan's protagonist has to adopt to this different kind of environment. Next to a great Ryan, Ida Lupino shines

Moody manhunt undermined by misleading police noir intro. Simply told and beautifully shot.

The intricate lighting in the indoor scenes is beautifully contrasted with vast sweeping shots of the countryside. Would have liked to explore that setting more over the first 30 minutes in the city. Herrmann delivers another excellent score, as always.

Need a rewatch. Cliched beginning but then does a 180 and sends him out to the countryside when he suddenly becomes more caring. Neat to see a noir take place outside the city. 2nd "cop chases murderer who's the brother of love interest" movie I recently watched (Rose Marie). Fav scene: outdoor chase in the snow.

84.00

Lupino did a solid job playing blind. Good parts for Ryan and Ward Bond as well. Fast moving drama.

Star Rating: ★★★

"I suppose you have to be pretty tough in your line of work, don't you?" Cue sentimental music.

Bu haliyle bir film noir olarak değerlendirmek ne kadar doğru olur bilmiyorum ama tipik bir noir gibi başlayıp, yaptığı keskin dönüşle şaşırtıcı, gerçekçi, hatırda kalıcı ve orijinal olduğu kesin.

Most notable for the striking contrast between the dark, rain-slicked city streets of the opening 30 minutes and the bright snow-covered plains once Ryan gets sent to "Siberia". The film's themes are not handled with any great subtlety, but I dunno, I found the connection between Ryan and Lupino oddly affecting.

The contrast between the city and upstate, the way the city is tight and closed in while the shots in the country tend to focus on wide-open expanses, is interesting. I've never found Robert Ryan to be the most interesting actor but his anger can be downright frightening. There's a great scene in here that displays that. Ida Lupino is pretty good as the blind woman. I do wish the story had a darker conclusion but Howard Hughes wouldn't allow it. Great Bernard Herrmann score.

watched: 2011, 2017, 2023

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