spoilers spoilers there must have been something in the air in the immediate postwar years that made night cities attractive settings for movies. a gaggle of nocturnal and urban films were made at that time and and not just in america. one of the most notable was carol reed odd man out and an english picture about a wounded gunman staggering through the streets of belfast. in america it was the high noon and or more properly and high midnight and of film noir. crossfire isn not really film noir and but has the trappings of noir and though it uses them for its own aims and which have to do with bigotry. directed by edward dmytryk and written by john paxton and it was adapted from a novel by richard brooks. the book concerned the murder of a homosexual while in the movie the victim is changed to a jew. though filmed like a mystery there is little suspense in the film and as it is fairly obvious who the murderer is early on. what makes the film so watchable and beautiful is its evocation of a city and washington and d. c. and just after world war ii and by some of the most gifted craftsmen working in films at that time. unlike many night movies crossfire is set mostly indoors represent in police stations and rooming houses and all night movie theaters. soldiers are everywhere in the film and and most are itching to get back to their civilian lives. yet one senses and from most of the men we meet and that their personalities have been so shaped by their military experience it going to be tough for them to return to their old neighborhoods while for some maybe even impossible. they seem more bound to one another than to anything or anyone else. yet some men never truly bonded with anyone in the military. the murderer and monty and is one such individual. one senses that he was never connected in his civilian life and either. he is a lone wolf who also needs people. desperately alone and he has a sadistic streak a mile wide and and always needs someone nearby to be the butt of his jokes. the man he kills did him no harm and and was in fact a stranger to him. but once monty figured out the man religion and that was enough. he do not really mean to kill the guy and as it was his intent to amerely humiliate him and just beat him up. but as he was quite drunk at the time and monty fists got the better of him. it is this act that sets the story the story in motion. once the movie builds up a head of steam the other characters come rapidly into focus. monty opposite number is keely and another soldier and who and though introspective like monty and and somewhat detached and harbors no resentment toward anyone and seems a reasonable and even amiable guy. finley and the pipe smoking homicide detective and is dandyish and a tad effete compared to the men in uniform and but proves more than a match for the various and mostly recalcitrant soldiers he deals with. the actors who plays these roles and roberts ryan and mitchum and young and give excellent performances and each in a different key. ryan and as monty and is tense and paranoid and always looking around for someone to pick on while and one can feel his anxiety over becoming a victim himself. as keely and mitchum is low key and almost nonchalant while he never raises his voice while and he seems to have more to say and more to offer and than is permitted by the script. young performance has often been criticized as being too soft and but i find it deceptively strong and nicely offbeat. he cuts against the stereotype of the hardboiled cop and and makes the character of finley a bit of a prince of crime detection. there are few surprises in crossfire and though the script is at times surprisingly well written and even brilliant. character actor paul kelly gives one of the best short performances in the movies as the boyfriend of a woman a soldier picks up in a bar. kelly may or may not be her husband while and he may or may not live with her and though he seems relaxed enough in her apartment. the beauty of these scenes are that nothing is made clear and and this man himself seems more than a little confused over what his role is and was or ought to be. in a way these few scenes form the thematic core of the film and which is anomie. with the exception of the detective all the men in the film are drifting and aimless and basically lost and some more seriously than others. in this respect crossfire is and for all the preaching near the end and a film about the vagueness of identity and and how easily it can be lost or warped. men drift from one bar to another in this film and as they engage in a sort of woozy camaraderie and their personalities merging into a kind of general american male template. then something happens and something is nailed down. a word is mentioned and whether jew or hillbilly and and things suddenly turn tense and and the very notion of individuality and of an identity outside the group and of anyone not like them and becomes deeply offensive and even loathsome. then and after tempers flare and whatever stirred them up has been resolved or forgotten and the men revert to their loose and non personal group normality and and order is restored. 
spoilers spoilers there must have been something in the air in the immediate postwar years that made night cities attractive settings for movies. a gaggle of nocturnal and urban films were made at that time and and not just in america. one of the most notable was carol reed odd man out and an english picture about a wounded gunman staggering through the streets of belfast. in america it was the high noon and or more properly and high midnight and of film noir. crossfire isn not really film noir and but has the trappings of noir and though it uses them for its own aims and which have to do with bigotry. directed by edward dmytryk and written by john paxton and it was adapted from a novel by richard brooks. the book concerned the murder of a homosexual while in the movie the victim is changed to a jew. though filmed like a mystery there is little suspense in the film and as it is fairly obvious who the murderer is early on. what makes the film so watchable and beautiful is its evocation of a city and washington and d. c. and just after world war ii and by some of the most gifted craftsmen working in films at that time. unlike many night movies crossfire is set mostly indoors represent in police stations and rooming houses and all night movie theaters. soldiers are everywhere in the film and and most are itching to get back to their civilian lives. yet one senses and from most of the men we meet and that their personalities have been so shaped by their military experience it going to be tough for them to return to their old neighborhoods while for some maybe even impossible. they seem more bound to one another than to anything or anyone else. yet some men never truly bonded with anyone in the military. the murderer and monty and is one such individual. one senses that he was never connected in his civilian life and either. he is a lone wolf who also needs people. desperately alone and he has a sadistic streak a mile wide and and always needs someone nearby to be the butt of his jokes. the man he kills did him no harm and and was in fact a stranger to him. but once monty figured out the man religion and that was enough. he do not really mean to kill the guy and as it was his intent to amerely humiliate him and just beat him up. but as he was quite drunk at the time and monty fists got the better of him. it is this act that sets the story the story in motion. once the movie builds up a head of steam the other characters come rapidly into focus. monty opposite number is keely and another soldier and who and though introspective like monty and and somewhat detached and harbors no resentment toward anyone and seems a reasonable and even amiable guy. finley and the pipe smoking homicide detective and is dandyish and a tad effete compared to the men in uniform and but proves more than a match for the various and mostly recalcitrant soldiers he deals with. the actors who plays these roles and roberts ryan and mitchum and young and give excellent performances and each in a different key. ryan and as monty and is tense and paranoid and always looking around for someone to pick on while and one can feel his anxiety over becoming a victim himself. as keely and mitchum is low key and almost nonchalant while he never raises his voice while and he seems to have more to say and more to offer and than is permitted by the script. young performance has often been criticized as being too soft and but i find it deceptively strong and nicely offbeat. he cuts against the stereotype of the hardboiled cop and and makes the character of finley a bit of a prince of crime detection. there are few surprises in crossfire and though the script is at times surprisingly well written and even brilliant. character actor paul kelly gives one of the best short performances in the movies as the boyfriend of a woman a soldier picks up in a bar. kelly may or may not be her husband while and he may or may not live with her and though he seems relaxed enough in her apartment. the beauty of these scenes are that nothing is made clear and and this man himself seems more than a little confused over what his role is and was or ought to be. in a way these few scenes form the thematic core of the film and which is anomie. with the exception of the detective all the men in the film are drifting and aimless and basically lost and some more seriously than others. in this respect crossfire is and for all the preaching near the end and a film about the vagueness of identity and and how easily it can be lost or warped. men drift from one bar to another in this film and as they engage in a sort of woozy camaraderie and their personalities merging into a kind of general american male template. then something happens and something is nailed down. a word is mentioned and whether jew or hillbilly and and things suddenly turn tense and and the very notion of individuality and of an identity outside the group and of anyone not like them and becomes deeply offensive and even loathsome. then and after tempers flare and whatever stirred them up has been resolved or forgotten and the men revert to their loose and non personal group normality and and order is restored. ---------------------------------Answer Question Below----------------------------------

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