You can shoot when I miss, Fat man!

Rating: 9/10 (22 February 2010)

...Shoot they all did and straight at that in a dynamic one-of-a-kind film-noirish masterpiece about the lives of those caught up in the morass of the street-life nether world of gambling, hustling and boozing. I had seen this film a number of times over the last 40 or so years, but I finally gave it deeper attention recently on a cable station feature presentation. I don't need to focus on the obvious talents and already duly noted portrayals of the likes of Newman, G.C. Scott, Gleason, etc. for their signature performances.
What I shall focus on (and I'm not the first!) is the stellar performance of Piper Laurie, who ever so gracefully, intelligently and understatedly delved into her role as Newman's woman. Messrs. Rossen and Carroll wrote her a subtle and penetrating script and she delivered with great sensitivity and style. Her character was torn between her desire for a loving relationship and her internal demons of the past and present which mainly included her alcoholism and her father's ambivalence and lack of caring for her. Aware of her thrust-upon situation, she deftly alternates between the somewhat quirky, soft-hearted lover and the world-savvy dame who has seen her share of flops and near misses along the way in her young life. As the film progresses, we see the toll that this lifestyle extracts from her and others engulfed in it and the downward spiral that is always forthcoming, as many are called but very few are chosen.
Kudos to all in this timeless classic, with a special shout-out to Kenyon Hopkins & co. (how about the alto sax work!) for a most compelling and complementary sound track.