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Which gives you the insane privilege to blow people to bits? Cornered is directed by Edward Dmytryk and adapted to screenplay by John Paxton from a story by John Wexley. It stars Dick Powell, Walter Slezak and Micheline Cheirel. Music is by Roy Webb and cinematography by Harry J. Wild. Story is set at the end of World War II and finds Powell as demobbed Canadian flier Laurence Gerard. He returns to France to discover who ordered the killing of a group of French Resistance fighters, one of which was his new bride. Learning from his father-in-law that it was a Vichy collaborator named Marcel Jarnac. Gerard refuses to believe the rumour that Jarnac is dead and sets off on a trail that will lead him to Argentina, from where it soon becomes evident that Fascism is alive and well. From the off Powell's intense miserablist Laurence Gerard sets the tone for Dmytryk's no-nonsense picture. Mood is set at revenge bleak and spills over into a humourless detective picture with huge anti-fascist leanings. As Gerard snakes his way from France to Argentina, via Switzerland, and heavy with a black heart, he encounters a myriad of shifty characters and traverses what would become a roll call of film noir locations. Enter dark streets, alleys and low lighted rooms. Wedge in some murder and grim violence and Cornered clearly isn't a film for those in need of a pick me up!. It's also a twisty narrative, a plot that demands the utmost attention to follow what is going on. But that attention is rewarded with a spiky script that lets the number of characters really come to life, especially Gerard, who reels off a number of cutting remarks befitting his gait. Dmytryk ("Farewell My Lovely/Crossfire") and Wild ("Pitfall/The Big Steal") shoot it mostly as night time set-ups, thus enforcing the murky atmosphere, and Webb's musical accompaniment carries with it a ticking time bomb effect. Powell (also "Farewell My Lovely/Pitfall") and Slezak ("Lifeboat/Born To Kill") shine in a cast list of mostly unknowns or stock character actors. The former broods convincingly, the latter is the epitome of sweaty untrust. But there are some fine performances in the support slots, notably from Nina Vale as slinky femme fatale in waiting, Señora Camargo, of whom little is known since her film career numbers only three. While Luther Adler ("D.O.A./Kiss Tomorrow Goodbye"), in the early throes of his career, menacingly strolls into the picture for the last quarter for great viewing impact. Good stuff and recommended with confidence to film fans who enjoy some grit and blackness in their viewing diets. 8/10
The dream is unusually vivid: Bank employee Vince Grayson finds himself murdering a man in a sinister octagonal-shaped room lined with mirrors while a mysterious woman breaks into a safe. It is so vivid that Vince suspects it may have really happened. To get the dream off his mind, he goes on a picnic with some relatives. When a thunderstorm forces his party into a nearby mansion, Vince discovers that the bizarre room does exist, and it means nothing but trouble.
Cleve Marshall, an assistant district attorney, falls for Thelma Jordon, a mysterious woman with a troubled past. When Thelma becomes a suspect in her aunt's murder, Cleve tries to clear her name.
When composer George Harvey Bone wakes with no memory of the previous night and a bloody knife in his pocket, he worries that he has committed a crime. On the advice of Dr. Middleton, Bone agrees to relax, going to a music performance by singer Netta Longdon. Riveted by Netta, Bone agrees to write songs for her rather than his own concerto. However, Bone soon grows jealous of Netta and worries about controlling himself during his spells.
Rosa, the self-serving wife of a small-town doctor, gets a better offer when a wealthy big-city man insists she get a divorce and marry him instead. Soon she demonstrates she is capable of rather deplorable acts - including murder.
Ex-cop Vic Barron crossed the wrong mobsters; his wife and child were killed and he was scarred, framed, and imprisoned. On release, Vic has but one desire, revenge on still-hiding Tino Morelli.
Down-and-out artist Joe Manning (John Bromfield) wakes up from a night of drunken revelry in a jail cell, where he's being held on suspicion for the murder of a nightclub singer.
Jim Fletcher, waking up from a coma, finds he is to be given a court martial for treason and charged with informing on fellow inmates in a Japanese prison camp during WWII. Escaping from the hospital he tries to clear himself by enlisting the aid of Martha Gregory, widow of a service buddy he was accused of informing on. Helped also by Ted Niles, a surviving fellow prisoner, he gets closer to finding the answers he needs, and becomes ensnared in a grandiose scheme involving his Japanese ex-prison guard, $10,000,000 of US currency forged by the Japanese and a burgeoning crime network poised to wreak havoc throughout southern California.
A deranged killer escapes from a mental institution, intent on locating the psychiatrist whose testimony sent him to the asylum, holds the patrons of a bar hostage.