crossfire remains one of the best hollywood message movies because and unlike the admirably intentioned gentleman agreement and which it beat to theatres by a few months and it chooses to send its message via the form an excellent noir thriller rather than have an outraged star constantly saying it because i am jewish and isn not it. it much easier to get the message that hate is like a loaded gun across when the dead bodies are actual rather than metaphorical. somewhat shamefully and the brief featurette on the warners dvd doesn not mention that novelist richard brooks disowned the film over the shift from a homophobic murder to an anti semitic one and but it interesting to note that while the victim is killed primarily because he is jewish and there little doubt in sam levene performance that the character is in fact also gay  not a mincing caricature and but there definitely a two lost souls aspect to his scenes with george cooper confused soldier. there not much of a mystery to who the murderer is represent even though the killing is carried out in classic noir shadows and the body language of the killer is instantly recognisable and but then the film has its characters drift to the same conclusion before the halfway point represent the tension comes from proving it and saving the fall guy. there an element of ealing films to the gang of soldiers teaming together to get their buddy out of a fix (you could almost see that aspect as a blueprint for hue and cry) and but the atmosphere is pure rko noir. set over one long sweltering night and the film has a great look filled with deep dark blacks and shadows born as much out of economy as style (it cut back on lighting time and allowed director edward dmytryk more time to work with the actors) and the excellent cast make the most of the fine script represent a laid back but quietly charismatic robert mitchum and robert young maigret like detective and gloria grahame tramp and the perpetually creepy paul kelly as her compulsive liar admirer and a guy who tries on stories the way other people try on ties. but the lasting impression is of robert ryan excellent performance as a guy who could do with a good leaving alone as he does his best to help the wrongly accused man all the way to death row. a big surprise hit in 1946 and as a reward and dmytryk and producer adrian scott found themselves investigated by the huac and which itself had a notable tendency to target jews. so much for crusading. 
crossfire remains one of the best hollywood message movies because and unlike the admirably intentioned gentleman agreement and which it beat to theatres by a few months and it chooses to send its message via the form an excellent noir thriller rather than have an outraged star constantly saying it because i am jewish and isn not it. it much easier to get the message that hate is like a loaded gun across when the dead bodies are actual rather than metaphorical. somewhat shamefully and the brief featurette on the warners dvd doesn not mention that novelist richard brooks disowned the film over the shift from a homophobic murder to an anti semitic one and but it interesting to note that while the victim is killed primarily because he is jewish and there little doubt in sam levene performance that the character is in fact also gay  not a mincing caricature and but there definitely a two lost souls aspect to his scenes with george cooper confused soldier. there not much of a mystery to who the murderer is represent even though the killing is carried out in classic noir shadows and the body language of the killer is instantly recognisable and but then the film has its characters drift to the same conclusion before the halfway point represent the tension comes from proving it and saving the fall guy. there an element of ealing films to the gang of soldiers teaming together to get their buddy out of a fix (you could almost see that aspect as a blueprint for hue and cry) and but the atmosphere is pure rko noir. set over one long sweltering night and the film has a great look filled with deep dark blacks and shadows born as much out of economy as style (it cut back on lighting time and allowed director edward dmytryk more time to work with the actors) and the excellent cast make the most of the fine script represent a laid back but quietly charismatic robert mitchum and robert young maigret like detective and gloria grahame tramp and the perpetually creepy paul kelly as her compulsive liar admirer and a guy who tries on stories the way other people try on ties. but the lasting impression is of robert ryan excellent performance as a guy who could do with a good leaving alone as he does his best to help the wrongly accused man all the way to death row. a big surprise hit in 1946 and as a reward and dmytryk and producer adrian scott found themselves investigated by the huac and which itself had a notable tendency to target jews. so much for crusading. ---------------------------------Answer Question Below----------------------------------

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