Paynbob
It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.
telegonus
The movies loved rogues in the old days. Whores with hearts of gold (though they couldn't call them that,--whores I mean), con men who were kind to widows and orphans, gangsters who were really robin hoods in fedoras and pin-striped suits. This was especially true in the economic hard times of the Depression. One saw fewer of such films after the war. Nowadays things are quite different, and the formula would seem ridiculously old-fashioned and corny. Maybe the rise of mass education had something to do with it. As people have become more middle class they are increasingly concerned about "respectability". In the days when most people worked with their hands or lived off the land the good bad guy thing was acceptable. But enough sociological musing. In this film the good bad guy is Bruce Cabot, who could play really bad guys quite well also, which gives his character added ambiguity. The setting is New York, the work is power lineman. Cabot is credible in both his good and bad aspects, which makes his nice guy attributes more effective than had his role been played by, say, Don Ameche. Director Eddie Cahn, a master of the short subject, directs this one for speed and beauty. It has plenty of both. The backlot cityscapes are something to see.
