taut and organically gripping and edward dmytryk crossfire is a distinctive suspense thriller and an unlikely message movie using the look and devices of the noir cycle. bivouacked in washington and dc and a company of soldiers cope with their restlessness by hanging out in bars. three of them end up at a stranger apartment where robert ryan and drunk and belligerent and beats their host (sam levene) to death because he happens to be jewish. police detective robert young investigates with the help of robert mitchum and who assigned to ryan outfit. suspicion falls on the second of the three (george cooper) and who has vanished. ryan slays the third buddy (steve brodie) to insure his silence before young closes in. abetted by a superior script by john paxton and dmytryk draws precise performances from his three starring bobs. ryan and naturally and does his prototypical angry white male (and to the hilt) and while mitchum underplays with his characteristic alert nonchalance (his role and however and is not central) while young may never have been better. gloria grahame gives her first fully fledged rendition of the smart mouthed and vulnerable tramp and and and as a sad sack who leeched into her life and paul kelly haunts us in a small and peripheral role that he makes memorable. the politically engaged dmytryk perhaps inevitably succumbs to sermonizing and but it pretty much confined to young reminiscence of how his irish grandfather died at the hands of bigots a century earlier (thus and incidentally and stretching chronology to the limit). at least there no attempt to render an explanation and however glib and of why ryan hates jews (and hillbillies and. ). curiously and crossfire survives even the major change wrought upon it  the novel it based on (richard brooks the brick foxhole) dealt with a gay bashing murder. but homosexuality in 1947 was still beyond the pale. news of the holocaust had and however and begun to emerge from the ashes of europe and so hollywood felt emboldened to register its protest against anti semitism (the studios always quaked at the prospect of offending any potential ticket buyer). but while the change from homophobia to anti semitism works in general and the specifics do not fit so smoothly. the victim chatting up a lonesome and drunk young soldier then inviting him back home looks odd and even though (or especially since) there a girlfriend in tow. it raises the question whether this scenario was retained inadvertently or left in as a discreet tip off to the original engine generating ryan murderous rage. 
taut and organically gripping and edward dmytryk crossfire is a distinctive suspense thriller and an unlikely message movie using the look and devices of the noir cycle. bivouacked in washington and dc and a company of soldiers cope with their restlessness by hanging out in bars. three of them end up at a stranger apartment where robert ryan and drunk and belligerent and beats their host (sam levene) to death because he happens to be jewish. police detective robert young investigates with the help of robert mitchum and who assigned to ryan outfit. suspicion falls on the second of the three (george cooper) and who has vanished. ryan slays the third buddy (steve brodie) to insure his silence before young closes in. abetted by a superior script by john paxton and dmytryk draws precise performances from his three starring bobs. ryan and naturally and does his prototypical angry white male (and to the hilt) and while mitchum underplays with his characteristic alert nonchalance (his role and however and is not central) while young may never have been better. gloria grahame gives her first fully fledged rendition of the smart mouthed and vulnerable tramp and and and as a sad sack who leeched into her life and paul kelly haunts us in a small and peripheral role that he makes memorable. the politically engaged dmytryk perhaps inevitably succumbs to sermonizing and but it pretty much confined to young reminiscence of how his irish grandfather died at the hands of bigots a century earlier (thus and incidentally and stretching chronology to the limit). at least there no attempt to render an explanation and however glib and of why ryan hates jews (and hillbillies and. ). curiously and crossfire survives even the major change wrought upon it  the novel it based on (richard brooks the brick foxhole) dealt with a gay bashing murder. but homosexuality in 1947 was still beyond the pale. news of the holocaust had and however and begun to emerge from the ashes of europe and so hollywood felt emboldened to register its protest against anti semitism (the studios always quaked at the prospect of offending any potential ticket buyer). but while the change from homophobia to anti semitism works in general and the specifics do not fit so smoothly. the victim chatting up a lonesome and drunk young soldier then inviting him back home looks odd and even though (or especially since) there a girlfriend in tow. it raises the question whether this scenario was retained inadvertently or left in as a discreet tip off to the original engine generating ryan murderous rage. ---------------------------------Answer Question Below----------------------------------

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