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user\nThis film is a spicy little piece of film-making from Sam Fuller which gives Richard Widmark the chance to show of some of his best, most edgy acting in the role of Skip McCoy, a small-time thief who stumbles onto a military secret while picking beautiful Candy's (Jean Peters) pocket on a crowded bus. It turns out Candy was doing a favor for her (ex?)boyfriend, who's working for the \"commies\".
Superficially, there's a mystery here regarding Candy's motives and Skip spends much of the film determining her motives. Actually he seems to just initially assume that she's a \"commie\", going so far as to pour beer in her face in a callous gesture. But the real question is  what's going on with Skip? What are his motives, and why does Candy like him so much? Why do we (the audience) want to like him so much? Basically what the film-makers have done here is create a very striking \"male fatale\" in Widmark's character and his performance. Just as the male audience tends to ponder through the length of a film like \"The Big Sleep\" or \"The Glass Key\" along with the main characters whether the female character is trustworthy or just a pretty face, the film-makers have here created a similar quandary for female viewers. Widmark is handsome, and there's also a charm in his boyish insouciance  but the first two times he meets our leading lady, he robs her and then punches her in the face. Eventually the question becomes  would Skip sink so low as to sell out his country for a buck (his comments to the police, like \"you're waving a flag at ME?\" make us suspect he would) or is he simply out for revenge for the murder of his friend Moe (Thelma Ritter)? I'm not sure that the film gives us a conclusive answer either way.
Thelma Ritter's character work deserves special mention  she has created a truly indelible character here. Fuller isn't afraid to give her plenty of \"business\"  in the form of physical objects that she uses to draw the audience into her world, particularly her used ties. Another example of Fuller's \"business\" would be the scene with Victor Perry (an actor I've seen elsewhere used to less effect) using the chopsticks to intimidate Candy.
The emphasis on Moe's relationship with Skip provides one of cinema's most revealing \"honor among thieves\" themes. In fact Skip has the same kind of ease and the same kind of casual relationship with the police, with the notable exception of Capt. Tiger (Murvyn Vye) who has a grudge against him. I loved the scene where he invited the cops in by name and offered them a beer when they came to pick him up at his shack. Those are the kind of details that make this film feel real  whether or not it really is \"realistic\" or whether that would matter are entirely separate questions.
All told, I would say this is an essential crime film which displays a lot of the best and most durable attributes of the \"film noir\" school of film-making. A predictable plot is off-set by a host of colorful characters (uniformly well-performed), cheap sets are disguised by the film's unrelenting pace, and the final product feels a lot more substantial than it probably is. This is the best film I've seen so far by Sam Fuller and helps me to see better why he's regarded as a master director  here he accomplished some things that I think he tried but ultimately failed to do in other films like \"The Crimson Kimono\" and \"Shock Corridor\" as far as very emphatic acting styles and really gripping suspense. This is one of my favorite performances from Widmark that I've seen so far  and Widmark was a talent that I'm tempted to say (based on the few extraordinary films I've seen with him) was comparable to that of Alan Ladd or Humphrey Bogart, although arguably he didn't make as many classic films.
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