Raw Deal

50
Rotten Tomatoes Critics - Certified Fresh 100%
Rotten Tomatoes Audience - Upright 81%
IMDb Rating 7.3 10 3

Synopsis


Downloaded 8,686 times
April 3, 2019

Director

Cast

John Ireland as Senator Smedley
Marsha Hunt as Francine Taylor
Raymond Burr as Dr. Kramer
Whit Bissell as Paul Grant
720p.BLU 1080p.BLU
634.47 MB
1280*720
English
NR
23.976 fps
79 min
P/S N/A / N/A
1.22 GB
1920×1080
English
NR
23.976 fps
79 min
P/S N/A / N/A

Movie Reviews

Reviewed by robotman-2 10 / 10 / 10

Shadows Don't Wash Off

Folks can go on and on about a visual style. The fact is, RAW DEAL exemplifies more than just an atmosphere. There's a catalyst for horrific violence driven by the desperation of the characters, their psychosis and their inability to escape from the choking shadows not only around them, but inside their heads. This movie, a cheap b-production with only one actor with stand-out talent, Claire Trevor, and a young powerful Raymond Burr, manages to seem authentic all the way through because it doesn't hold back on the violence or the threat of violence. There's a desperate prison escape, by hero O'Keefe, who's trying to get to Burr the crime boss, for whom he took a fall. Burr wants O'Keefe dead so he doesn't have to worry about O'Keefe ratting on him. O'Keefe uses two women he knows, his floozy Trevor and the good-girl counselor he really loves (she's cast in light and draws him like a moth) as cover. The movie then follows O'Keefe as he does a mini-FUGITIVE, like the television show, making love to his women and encountering a raging lunatic in the woods who doesn't have anything to do with him, but might get O'Keefe caught anyway by swarming police on the hunt for the maniac. In this rough noir, you get a suicide by cop, a guy fighting not to get his face impaled on a set of wall antlers, a flaming friccasee thrown in a drunk woman's face, a nasty deception and the good girl getting tortured, and a bloody final encounter between psycho Burr and O'Keefe, with plenty of face-ripping and falling from burning buildings. That's not standard stuff, and if you can get into babe Trevor with light shimmering on her lips as she tries to figure out how to save her thug O'Keefe from the police, Burr, and the younger angel ready to steal him away, then you will enjoy hell out of this film.

Reviewed by bmacv 8 / 10 / 10

What is film noir? An object lesson from Anthony Mann and John Alton

***SPOILERS*** ***SPOILERS*** Gunplay is for Westerns (of which Raw Deal's director, Anthony Mann, went on to direct several). Film noir prefers more baroque outbursts of malice, ideally illuminating, however briefly, the dark crevasses of human psychopathology. Crime kingpin Raymond Burr, shot from below to make his bulk loom even more frighteningly, nurses a fascination with fire. His chambers glow with candlelight, and he playfully singes the earlobes of his henchmen with a cigarette lighter. When, displeased with some news he's just heard, a party girl splashes him with some of her drink, he reacts with lightning-quick instinct, hurling a chafing dish of flaming Cherries Jubilee into her face - and, not so incidentally, ours. (This, by the way, five full years before Fritz Lang arranged for Gloria Grahame to get a kisserful of scalding coffee in The Big Heat.) Of course, in accord with Chekhov's dictum that a rifle produced in Act One must be discharged by Act Three, waiting in the wings there's a conflagration with Burr's name on it. Raw Deal was the second of the collaborations between Mann and cinematographer John Alton, following T-Men. There's scarcely a frame in the film that Alton has not composed, lighted and shot with offhand brilliance, yet the film flows along without the fussy, embalmed look that comes from self-conscious artistry or uncertainty about what to do with it. A subdued voice-over opens the movie - not the stentorian narration with which so many noirs are saddled (including T-Men) but an almost interior monologue spoken by a woman, Claire Trevor. (Never has she been better - not in Murder, My Sweet, nor Born To Kill, nor Key Largo, which snagged her an Oscar.) A savvy moll of a certain age, she knows time is running out on her, hence her obsession with clocks: wristwatches, clock faces in towers, wall clocks (at one crucial point Alton encloses her anxious face within a dial). She's been carrying a torch for Dennis O'Keefe, in stir after a double-cross by Burr. But a breakout has been arranged, with the codependent Trevor driving the getaway car, her purse holding two tickets to Panama on a freighter leaving in three days time. But there's many a slip 'twixt cup and lip. First, a jam forces them to include in their getaway plans a young social worker (Marsha Hunt) who has taken a professional interest in O'Keefe (much to Trevor's chagrin). Next, Burr has sent one of his deranged torpedoes (John Ireland) in pursuit. Third, O'Keefe is determined to have one last reckoning with Burr. Fourth, Ireland manages to abduct Hunt.... Half the movie takes place in San Francisco, mainly in fog-shrouded Corkscrew Alley. The great outdoors of the Northwest accounts for the rest - with a haunting nocturne in a pine forest, which city-gal Trevor remarks makes her feel `I dunno, both big and small at the same time.' But indoors or out, darkness reigns (and, thanks to Alton, the film's many and intricate shadows all but achieve co-starring stature). It's hard-core noir, to be sure, sinister and brutal, but shot through with a redemptive touch of poetry.

Reviewed by secragt 8 / 10 / 10

Beefy Beefsteak Movie Par Excellence

Enjoyable noir outing enlivened by a first rate cast, solid script and typically solid Alton camerawork. O'Keefe is right at home as Joe, the hotheaded lug with his own code and unlucky streak. Trevor is at her fatalistic best as the true blue moll who is meant for him but gets stepped over. Hunt is appealing and credible as the fresh-faced moralist who tries to change Joe but winds up changed, instead. Burr is an effective heavy, albeit a bit too wimpy at the end. Toomey, Bissell, and Ireland are all competent as well. Alton uses multiple familiar Malibu locations to good advantage. The cinematography is excellent. The script is particularly effective, building as Joe slowly discovers how he has been set up and deceived by basically everyone to some degree. Claire Trevor's struggle to come clean at the end is a moving and suspenseful section and the violent climax is curiously redeeming and satisfying. Noir fans should definitely give this one a look- not as famous as your typical Bogey or Mitchum entry, but just as iconic in its own way.

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