krocheav

Wit is quite astounding on several levels: firstly, that it was made at all; secondly that any lead could play it as if it was actually happening to them, and thirdly, that it could be directed and photographed so superbly within the confines of the story-telling and settings. I doubt that we have ever seen (or could see again) Emma Thompson so utterly and desperately convincing in an excruciatingly realistic portrayal.

She and Mike Nichols have created a sterling screenplay from Margaret Edson's Pulitzer Prize-winning play, constructing a continuous tour de force screen experience. They have overcome the often static nature of stage material with heartfelt performances and editorial perfection. This could prove too potent for some viewers not wanting to engage with the final throws of life, but it's so perfectly done - it carries the viewer in its arms to the final desperate outcome, leaving us as if we've all learnt something.

A genuine, compelling screen achievement for discerning, mature audiences, with a hard-working, hand-picked cast, bringing it sharply to life.

Who would have expected a film that runs for under 80mins to have such 'A grade' credentials? Nightfall is such a movie. With credits starting with Ted Richmond and Tyrone Power's Production Company, it then boasts Jacques Tourneur as director (Out of the Past '49). Then comes the top flight cast; Aldo Ray, Brian Keith, and a lovely, youthful Anne Bancroft, supported by well known character players. Now add cinematography by the great Burnett Guffey (All the Kings Men '49 etc, etc), a screenplay by Stirling Silliphant (Charlie '69) based on David Goodi's robust novel.

It has the earmarks of a film intended as a main feature that, for some reason, ended up being a support for a double-feature bill - it also keeps the viewer engaged with a series of compelling, tense situations. While there are a couple of strange plot gaps, it flows at such a pace these can be somewhat overlooked. Lovers of fifties noir dramas won't be too disappointed with this quite rare offering, and Ray does well as the everyman thrown in at the deep end, hiding out for his life.

Who would have expected a little known '51 Columbia picture about corruption on the docks to be heading towards the quality of an exposé - along the lines of Bud Schulberg's classic "On The Waterfront"? This little picture presents its case with no holds barred - shot with a remarkable visual style from prolific Frank Capra cinematographer, Joseph Walker. Working with actor, editor, and in this case, director Robert Parish, Walker lifts this programmer well above its station.

Versatile all-rounder, writer William Bowers (The Gunfighter '50) provides a gritty screenplay based on Ferguson Findley's book of the same year; 'Waterfront'. The lead performance from Broderick Crawford brings a well realised strength to his undercover cop --placing himself in acute danger within a ruthless underworld mob-- stopping at nothing to protect their perverse money making rackets.

The interesting support cast making up these gangsters include Neville Brand, John Marly (the Godfather '71) and Ernest Borgnine. Singer/actor Richard Kiley adds further interest as fellow dock worker (and mystery man) Tom Clancy. This film could be looked on as an overlooked minor classic and deserves to be seen by all that enjoy 40s/50s noir dramas. Only major false move is a tacked-on 'upbeat' ending, but what goes before is well worth the watch. Charles Bronson makes an early uncredited appearance.