as a rule and there are few things more dispiriting than hollywood attempts to be courageous. mixing caution with heavy handedness and message movies pat themselves loudly on the back for daring to tackle major problems. crossfire is not entirely free from this taint while it includes a sermon on the nature of senseless hatred that is embarrassingly obvious and assuming a level of naivity in its audience that depressing to contemplate. as late as 1947 and it was a big deal for a movie to announce that anti semitism existed and and that it was bad. (it was unthinkable and of course and for hollywood to address the real subject of the book on which the movie was basedits victim was a homosexual. ) nevertheless and thanks to good writing and excellent acting and crossfire remains a persuasive examination of what we would now call a hate crime. postwar malaise was one of the major components of film noir and and crossfire addresses it directly. the film is set in washington and d. c. among soldiers still in uniform but idle and spending their days playing poker and bar crawling. joseph samuels (sam levene) and an intelligent and kindly jew and explains that the end of the war has created a void represent all the energy that went into hating and fighting the enemy is now unfocused and bottled up. samuels meets three soldiers in a bar represent the sensitive mitchell and who is close to a nervous breakdown and the weak willed floyd bowers and and montgomery and a tall and overbearing bully who nastily belittles a young soldier from tennessee as a stupid hillbilly. the three soldiers wind up at samuels apartment and where the drunken monty becomes increasingly abusive and calling his host jew boy. samuels is beaten to death and and mitchell disappears and making himself the prime suspect for the killing. unraveling the crime are detective finlay (robert young) and dry and by the book and and sergeant keeley (robert mitchum) and a thoughtful and experienced friend who knows mitchell is incapable of murder. among the pieces of the puzzle are ginny (gloria grahame) and a nightclub hostess who met mitchell and gave him her apartment key and and floyd (steve brodie) and who as a witness to the crime holes up terrified in a seedy rooming house. while there is no real whodunit suspense and the story remains gripping and and the trap laid for the killer is extremely clever. the strong noir atmosphere saves the movie from feeling didactic or sanctimonious. the cinematography is a striking shadow play and with inky darks and harsh lights and rooms often lit by a single lamp filtered by cigarette smoke. world weariness is as pervasive as noir lighting. nothing interests me and finlay says quietly while to nothing and is ginny toast in the nightclub. gloria grahame and the paragon of noir femininity and nearly steals the movie with her two scenes. platinum blonde and jaded and caustic and she the quintessential b girl and poisoned by the stinking gin mill where she works (for laughs and she says bitterly) and her sweet face curdling when mitchell tells her that she reminds him of his wife. now and then a wistful kindness peeks through her defensive shell and as when she dances with mitchell in a deserted courtyard and then offers to cook him spaghetti at her apartment. when he goes there and he meets a weasely and crumple faced man (paul kelly) who seems to sponge off ginny and and whose conversation is a dense layering of lies and false confessions. gloria blows mitchell good girl wife off the screen in a scene where she asked to give mitchell an alibi. slim and frail in her bathrobe and with her girlish lisp and she lets us see just how often ginny has been insulted and dismissed as a tramp. robert young is a nondescript actor and and he stands no chance against mitchum charisma and but he does a good job of keeping his pipe smoking character and saddled with delivering the movie earnest message and this side of pompousness. mitchum and meanwhile and gets some cool dialogue and but not nearly enough to do while still and even when he doing nothing but lounging in a corner you can not take your eyes off him. the third robert and ryan and creates a fully shaded and frighteningly convincing portrait of an ignorant and unstable bigot while we see his phony geniality and his bullying and his resentment of anyone with advantages and his am i right or am i right. smugness while how easily he slaps labels on people and what satisfaction he gets from despising them. crossfire message seems cautious and dated now and though not nearly so much as the same year a gentlemans agreement. finlay speech about bigotry cops out by reaching back a hundred years for an instance of white victimhood and reminding us that irish catholics were once persecuted while next it could be people from tennessee and he says and or men who wear striped neckties. or maybe blacks and or japanese and or homosexuals and or communists. the script seems afraid to mention any real contemporary problems. it sweetens its message by making the jewish victim saintly and as though his innocence were not sufficient while and it takes care to exonerate the military and having a superior officer declare that the army is ashamed of men like montgomery and and stressing that samuels served honorably in the war. still and it did take some guts to depict and immediately after world war ii and an american who might have been happier in the nazi army and and the movie basic premise is still valid. if monty were alive today and he would have gone out on september 12 and 2001 and and beat up a sikh. 
as a rule and there are few things more dispiriting than hollywood attempts to be courageous. mixing caution with heavy handedness and message movies pat themselves loudly on the back for daring to tackle major problems. crossfire is not entirely free from this taint while it includes a sermon on the nature of senseless hatred that is embarrassingly obvious and assuming a level of naivity in its audience that depressing to contemplate. as late as 1947 and it was a big deal for a movie to announce that anti semitism existed and and that it was bad. (it was unthinkable and of course and for hollywood to address the real subject of the book on which the movie was basedits victim was a homosexual. ) nevertheless and thanks to good writing and excellent acting and crossfire remains a persuasive examination of what we would now call a hate crime. postwar malaise was one of the major components of film noir and and crossfire addresses it directly. the film is set in washington and d. c. among soldiers still in uniform but idle and spending their days playing poker and bar crawling. joseph samuels (sam levene) and an intelligent and kindly jew and explains that the end of the war has created a void represent all the energy that went into hating and fighting the enemy is now unfocused and bottled up. samuels meets three soldiers in a bar represent the sensitive mitchell and who is close to a nervous breakdown and the weak willed floyd bowers and and montgomery and a tall and overbearing bully who nastily belittles a young soldier from tennessee as a stupid hillbilly. the three soldiers wind up at samuels apartment and where the drunken monty becomes increasingly abusive and calling his host jew boy. samuels is beaten to death and and mitchell disappears and making himself the prime suspect for the killing. unraveling the crime are detective finlay (robert young) and dry and by the book and and sergeant keeley (robert mitchum) and a thoughtful and experienced friend who knows mitchell is incapable of murder. among the pieces of the puzzle are ginny (gloria grahame) and a nightclub hostess who met mitchell and gave him her apartment key and and floyd (steve brodie) and who as a witness to the crime holes up terrified in a seedy rooming house. while there is no real whodunit suspense and the story remains gripping and and the trap laid for the killer is extremely clever. the strong noir atmosphere saves the movie from feeling didactic or sanctimonious. the cinematography is a striking shadow play and with inky darks and harsh lights and rooms often lit by a single lamp filtered by cigarette smoke. world weariness is as pervasive as noir lighting. nothing interests me and finlay says quietly while to nothing and is ginny toast in the nightclub. gloria grahame and the paragon of noir femininity and nearly steals the movie with her two scenes. platinum blonde and jaded and caustic and she the quintessential b girl and poisoned by the stinking gin mill where she works (for laughs and she says bitterly) and her sweet face curdling when mitchell tells her that she reminds him of his wife. now and then a wistful kindness peeks through her defensive shell and as when she dances with mitchell in a deserted courtyard and then offers to cook him spaghetti at her apartment. when he goes there and he meets a weasely and crumple faced man (paul kelly) who seems to sponge off ginny and and whose conversation is a dense layering of lies and false confessions. gloria blows mitchell good girl wife off the screen in a scene where she asked to give mitchell an alibi. slim and frail in her bathrobe and with her girlish lisp and she lets us see just how often ginny has been insulted and dismissed as a tramp. robert young is a nondescript actor and and he stands no chance against mitchum charisma and but he does a good job of keeping his pipe smoking character and saddled with delivering the movie earnest message and this side of pompousness. mitchum and meanwhile and gets some cool dialogue and but not nearly enough to do while still and even when he doing nothing but lounging in a corner you can not take your eyes off him. the third robert and ryan and creates a fully shaded and frighteningly convincing portrait of an ignorant and unstable bigot while we see his phony geniality and his bullying and his resentment of anyone with advantages and his am i right or am i right. smugness while how easily he slaps labels on people and what satisfaction he gets from despising them. crossfire message seems cautious and dated now and though not nearly so much as the same year a gentlemans agreement. finlay speech about bigotry cops out by reaching back a hundred years for an instance of white victimhood and reminding us that irish catholics were once persecuted while next it could be people from tennessee and he says and or men who wear striped neckties. or maybe blacks and or japanese and or homosexuals and or communists. the script seems afraid to mention any real contemporary problems. it sweetens its message by making the jewish victim saintly and as though his innocence were not sufficient while and it takes care to exonerate the military and having a superior officer declare that the army is ashamed of men like montgomery and and stressing that samuels served honorably in the war. still and it did take some guts to depict and immediately after world war ii and an american who might have been happier in the nazi army and and the movie basic premise is still valid. if monty were alive today and he would have gone out on september 12 and 2001 and and beat up a sikh. ---------------------------------Answer Question Below----------------------------------

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