Cry Danger (1951)

Directed by Robert Parrish; produced by W R Frank and Sam Wiesenthal

Rocky Mulloy (Dick Powell) was sentenced to prison for a robbery he didn’t commit. Pardoned on the  belated alibi given by Delong (Richard Erdmann), a disabled U.S. marine just returned from overseas, Mulloy determines to find out who really committed the crime, in the hopes of freeing a friend jailed as an accomplice. Not guilty but not quite innocent, Mulloy is also interested in finding the stolen money, as compensation for the five years he spent behind bars. Those who really pulled off the heist, however, aren’t in the mood to share.

No one accomplished a change of direction in his cinematic career like Dick Powell. Young and boyish, he was a success as a song-and-dance man (eg. 1933’s 42nd Street). But in 1944, he starred as hard-boiled Philip Marlowe in the film noir Murder, My Sweet, and, though he was in a number of subsequent contrasting roles, became principally a tough guy thereafter. (The only actor I can think of who did something similar was Leslie Nielsen, who moved from a moderately successful drama career to the king of absurdist comedy.)

Despite the baby-face, Powell’s new persona fit him well, and it continued to do so in Cry Danger. His performance is strong and he creates a sympathetic character. Even so, the most notable performance is given by Erdmann. His character’s dry humour, delivered in a slow drawl, is the centre of each of his scenes, and Delong’s alcoholism lends a pathos to it. Also good is William Conrad, whose distinctive voice and imposing presence makes an effective villain. Rhonda Fleming is more than just a beautiful leading lady, and Regis Toomey plays a smart detective, letting events happen to his advantage.

The story is fairly straightforward, though there are some twists, some unexpected turns. Even so, the astute viewer should be able to see them coming. Nonetheless, the tale will keep the audience entertained. There is rather more violence in Cry Danger than in some movies of the era, though the climax is one more of tension than action.

The script is a good one, with some amusing lines in the usual film noir dry manner. However, we don’t learn too much about Mulloy; rather, we are told some of his history, which is not the same thing. Of the other characters we learn next to nothing that isn’t necessary to the plot.

Some sources list Powell himself as the film’s uncredited director. Whatever the case, the direction, like the story, is pretty ordinary, though it handles the exciting bits well enough. The Bunker Hill district of Los Angeles, a favourite of film noir, is featured in many scenes, giving the Californian city a look different than what comes to mind today.

While Cry Danger has a title more appropriate to an action-adventure movie, perhaps one about men hauling explosives over mountain roads, it is a good addition to the film noir library, and will hold the viewer’s attention during a night at the movies.