The African Queen

SPOILER ALERT! The plot will be discussed.

The African Queen (1951), directed by John Huston, is a story that deals with how people who have withdrawn from adversity can subsequently tap into their heroic nature when a crisis occurs. It also shows that people who are so different and would not meet under average circumstances are able to bond when extreme circumstances bring them together. Each person is capable of bringing out hidden aspects that were submerged before meeting adversity.

The story takes place in German East Africa in September, 1914. Missionaries are trying to bring their version of civilization to the inhabitants. The opening upward shot creates a view of the all-encompassing jungle and its majesty. The animal sounds immediately tell us how far this place is from so-called civilized cultures. But the real bestiality does not come from the land. The impending war points to how humans inflict their destruction and barbarity onto the continent. 

Rose (is she a flower ready to blossom?) Sayer (Katharine Hepburn) plays the organ and helps her brother, the Rev. Samuel Sayer (Robert Morley), try to lead the natives in a Christian hymn. The result is a cacophony of noise, stressing the lack of harmony between the two cultures. Another sound intervenes, which is that of the whistle on the decrepit-looking boat, the African Queen, belonging to Charlie Allnut (Humphrey Bogart, in a Best Actor Oscar winning performance). Bogart here is very different compared to the tough man-of-few-words but mostly moral types in other films he acted in. He is overly talkative in this movie. But he initially does not try to stick his neck out and put himself in danger, similar to Rick in Casablanca. His last name may suggest that he is crazy, a tough nut to crack, or he has the “nuts” (balls) that show he, potentially, can be a brave man. Here the sound of his boat easily distracts the African congregation who look baffled by what the white missionaries are trying to foster on them. 

Charlie, dirty, unshaven and smiling, seems at home in the wilderness of the jungle. The natives are familiar with him as he hands one a cigar. The Sayers are dressed as if they are in an urban setting, wearing fancy clothing that is unsuitable for the hot climate and which shows them to be out of place. Charlie has brought them their mail. The differences between these people continue when they sit down for tea, which the Sayers act like they are drinking in a British garden. Charlie’s stomach is growling since it is taking a long time for Rose to properly serve the bread and butter with the tea. He comments on the strange sounds a man’s stomach can make, but the uppity Sayers do not want common bodily functions discussed in front of them. Samuel reads that an acquaintance is now a bishop, and he seems envious. He dismisses the man’s abilities, implying he married well and that is how he was promoted. Samuel’s behavior is not that of an unselfish religious man devoted to loving others. The Sayers do not fit in with their new surroundings, but also are out of touch with what is happening elsewhere. Charlie tells them of the coming war between many European countries, and that each nation blames the other for starting the conflict. Samuel wonders if they will be considered hostile visitors in a German occupied territory, but Charlie tries to reassure them that nobody cares about “this God forsaken place.” This remark riles Rose who says her brother's presence points to God not abandoning this area on earth. Note that she gives all credit to her sibling as she allows herself to be subordinate to his leadership.

After Charlie leaves, Samuel again shows his disdain by calling Charlie a “wretched” man because he is Canadian and doesn’t seem to care about allegiance to their matriarchal country, Britain. Samuel says he can’t leave his “flock,” so he rejects Rose’s suggestion to depart. But he can do little when the Germans arrive and burn the huts of the natives and the wooden church, taking the men to use them as soldiers. Samuel seems to be broken mentally after this brutality, as he doesn’t even seem to realize he is in Africa. He becomes delirious and then collapses.

Charlie comes back because the Africans who were working for him at the Belgium mines heard about the German raids. The mine was abandoned and Charlie’s men ran off. Rose tells Charlie that Samuel died. Charlie says they must bury him and leave, because the Germans will be after his boat because of the supplies it is carrying. Thus, it is just the two of them now who must learn to survive together.

Rose is out of her depth at first when Charlie has her steer the boat so he can tie it up to the shore. She is starting on a new journey, physically and psychologically, and she must adapt without relying on her brother. Charlie says they have food and plenty of cigarettes and booze, the latter two drawing a look of disdain from the upright Rose. She wants to get out of there, but Charlie points out the difficulty of escaping the Germans. He seems to not want to put himself in any danger and wishes to sit it out until the war blows over. Charlie points out that the Germans have a large ship called the Louisa with a huge gun that prevents the Allies from getting across the lake to rescue people like Rose and Charlie. He also informs her that it will be difficult going down the river since the Germans are stationed where it flows into the lake. 

But Rose is seeking a new mission, and her inner strength begins to appear. She finds out that they have blasting equipment, but no detonators. There are also oxygen tanks on board. Since Charlie is sort of a mechanic, Rose says he can make a torpedo out of a tank, hang it over the side of the boat, and cause it to ignite and destroy the Louisa by scraping against its hull while they jump off. Charlie’s easygoing, joking manner turns to one of alarm at the suggestion. She calls into question his patriotism, and pushes him into leaving immediately as she has found an earthly crusade to embark upon. He now feels resentful of the pushy Rose, and mocks her demanding voice. Circumstances have allowed Rose to emerge from under the shadow of her brother’s spiritual crusade. Despite Charlie's reticence, he, as well as Rose, have not stayed in their comfort zones, having come to a place where there are many challenges. Their presence in Africa shows that they have the potential to be courageous and unselfish. 

As they go down the river, Rose is very inquisitive and learns more about the boat and how to “read” the waterway so as to navigate away from dangers. Charlie has to kick the boiler to let the steam out to reduce pressure because a screwdriver fell into it. He hasn’t removed the tool because he likes kicking the engine, which is a way for him to let off steam himself. She is becoming more worldly, so in that sense Charlie is her mentor. However, she does not want to learn about his drinking gin, and is relieved that he is considerate enough to make her tea. He now tries to duplicate the hospitality she showed him at the village. He likes to put a positive spin with a smile and a laugh even when things are negative, such as when he says the tea may taste rusty, but they “can’t have everything, now can we?” This overly courteous behavior seems forced, like he doesn’t want to reveal his own anxiety, or he can possibly be trying to cover up his roughness with a veneer of civility so as to be accepted by Rose. 

She says that she left England and has been in Africa for ten years. She does get nostalgic for her homeland’s peace and quiet on Sunday afternoons. Her genteel memory contrasts with his remark about “sleeping one off” on a Sunday as he recovered from a drinking binge on Saturday night. He says he came to Africa to get employment working on building a bridge. He misses the fun he had on the weekends, but during the week he had to take “orders” from others. He is his own boss in Africa, which shows his independent nature. They both need to wash up, and he says that they can go to opposite ends of the boat and avoid exposing themselves to each other. They both keep on their undergarments, however (this is 1951), and when Rose can’t climb back on board, Charlie must close his eyes as he helps her get on the boat. After falling asleep, it begins to pour. Charlie is drenched and reluctantly tries to get under the overhead covering where Rose is. She kicks him out, but realizes he just wants to avoid the downpour. She then invites him to get out of the rain. She kindly opens her umbrella to protect him from the rain coming in on the side where he sleeps. The scene adds a bit of sexual tension between the characters.

As he navigates through the rapids, there is a smile on his face while she looks alarmed. What he hopes is that she will become frightened and will call off her dangerous mission. But she surprises him by saying how excited she was, almost acting like it was a sensual experience. He is disappointed she isn’t willing to give up. He warns that their trip will get much worse, but she wants to do more steering and looks forward to the thrill. Ruth’s taking over most of the navigation shows her learning to take control of her life. Rose is no longer a wallflower and is becoming the wildflower she really is. 

After Charlie gets drunk, Rose sees that he is no longer polite and upbeat. He drops the pretense of being agreeable and says that her idea to sink the Louisa will not happen. He mocks her civilized speech. She keeps saying they will continue with her campaign, but he refuses. She says that he promised and is a liar and a coward. He reacts angrily, saying it’s his boat, and only invited her onboard out of pity for losing her brother. But her unrealistic demands are met with Charlie nastily saying, “I ain’t sorry for you no more, ya crazy, psalm-singing, skinny old maid!” He then goes off to drink more gin.

Charlie wakes to find Rose pouring all of his gin overboard, and there is a river of bottles floating along the waterway, as he bemoans his loss. Charlie does clean himself up by shaving, which he attributes to being around a woman with “clean habits.” He compliments her countering his procrastination about cleaning up the boat's engine, as he now performs that task. He seems to want to try to get back into her good graces. But she silently ignores him as she reads, and will not even respond when he says he will make her some tea. He appears dejected since she is not reacting to his attempts at being friendly. When she will not read from the bible for him, he becomes angry, questioning her Christian charity. He says it’s only natural for a man to drink a bit, but she counters by saying, “Nature, Mr. Allnut, is what we are put in this world to rise above.” She is espousing the denial of physical temptations which exist as tests to overcome. He apologizes for what he said when he was drunk, but she says that what is really bothering her is going back on his promise to go down the river and attack the Louisa. He says it is just too dangerous, but he can’t stand her silence, so he gives in. But, he sarcastically says he will eat his breakfast, which will be his last one. 

As they get on their way, Charlie sees many crocodiles entering the river and says they’re waiting for their dinner, which he implies will consist of him and Rose. He acts ironically cheerful and says that’s because he “gave myself up for dead back where we started.” They pass by a German fortress and they stay down in the boat for protection. The Germans use the Africans they abducted to help fire on the African Queen. They damage it, but Charlie reconnects a hose to get the boat going again as bullets fly around them, just missing igniting the explosives. But Rose was right that the sun would get in the eyes of the shooters, who can’t finish them off. But they must next confront the rocks they are rushing toward. The boat is slammed by the waves as Charlie keeps trying to keep the engine functioning and Rose holds onto the rudder. They somehow get through, and they are ecstatic, shouting how they survived. They hug each other and the scene ends in a kiss, which surprises them both. Charlie goes to the front of the boat and symbolically feeds the steam engine, its fire mirroring the passion he now feels. 

There follows a suggestive scene where Rose helps with pumping water out of the boat, and Charlie is close behind her, almost hugging her, holding her hand as he shows her how to accomplish the task. As she vigorously pumps the handle, the dreamy look in her eyes implies a desire for intimacy that she longs for. She removes a thorn in his foot following the collection of firewood, and when he touches her shoulder and says some of the local flowers, “sure are pretty,” she knows he is talking about her. They then kiss.

The next day she calls him “Dear,” and wakes him with coffee. He now acts gung ho about blowing up the German ship to please her. She, trying to reciprocate, notes some ‘misgivings,” about the quest. But then she says she is strengthened by his resolve. The look on his face shows he realizes he may have blown the chance to halt the precarious journey they are on. Later, they momentarily laugh together as Charlie imitates hippos and monkeys, showing they can enjoy the jungle they are traveling through, but then the dangers quickly resurface as they approach some treacherous rushing through waterfalls. 

They get through the dangerous stretch but must bail out the boat. He dives under the craft and sees there was damage to the shaft and propeller. Despite the adversity, Rose stays positive and suggests different ways to make repairs, encouraging Charlie to push himself to realize his potential to solve problems. She joins him under the boat to help with the work. They must take off their outer garments which symbolizes their shedding of inhibitions and differences that would keep them apart under usual circumstances, and are able to make the repairs as a team. They are painting themselves as heroes now, like “Antony and Cleopatra,” as they have bolstered each other’s self-esteem.

But things do not remain “Rosie,” as Charlie now calls his companion. They are swarmed by mosquitoes, but they can’t jump into the river because there are crocodiles entering the water. He covers her so she will not get bitten, and he braves the onslaught by pushing the boat away. Charlie suggests that they will be committed to each other as he says they will have stories “to tell our grandchildren.” And there are more stories to tell as they have a difficult time steering the boat through the marshy reeds to stay on track. Even when he becomes frustrated and angry, Rose encourages him. He has to go into the river and pull the boat, so heavy is the burden he has taken on. He comes out covered in leeches, but Rose is smart enough to pour salt on the creatures to get them off. She shows her strength of character by clearing the way with a machete as Charlie continues to pull the craft. But they can’t get the African Queen off the mud, and Charlie is exhausted and shaking. But he says he doesn’t regret one moment of being with her, showing how love has given him his purpose in life. As he sleeps, she resorts to her faith, which has not been shaken, and prays that God welcomes them if it is their time.

 As if her prayers were heard, a storm occurs and the rain unleashes rushing water that frees the boat from the reeds and pushes them into the lake which is their destination. But they see the Louisa heading towards them. They hide in some reeds, this time for protection, and are safe. They then prepare the air tanks by adding the explosives, and Charlie rigs up some bullets to fire and ignite the makeshift torpedo when it rams into the Louisa through a hole in the African Queen’s hull. 

Charlie has Rosie on his shoulders as she raises the British flag on his boat as Charlie has, like Bogart’s Rick, decided that there is something worth fighting for other than one’s own interests. Love means self-sacrifice, so each says they will attack the Louisa alone, trying to protect the other. But, Rose realizes they must remain a team to get the job done. She admits that she doesn’t want to go on without him, now that she has found a rich life here on earth. They decide to attack at night, a dangerous time because of visibility, but the most efficient if they don’t want to be spotted. However, a storm adds to the problem because the boat takes on too much water and it sinks. Charlie loses track of Rose.

The Germans capture Charlie. On the Louisa, under interrogation, Charlie says he was just fishing, but is accused by the First Officer (Theodore Bikel) of spying, and he is sentenced to be hanged. Charlie is despondent since he believes Rose has drowned. But he rejoices when German sailors arrive in a rowboat and bring Rose aboard. She tells the German that they were prepared to sink the Louisa to show their resolve against their captors. She and Charlie tell the Germans proudly that they overcame impossible odds to come down the river which shows what a tough fight the enemy is in for.

There is a shot of the almost submerged African Queen, but part of it is still above water, suggesting that the plan to sink the Louisa is not dead yet. Just before they are to be hanged, Charlie asks The Captain (Peter Bull) to marry them. Rose sees it as a wonderful way to go out. The Captain delivers darkly humorous contrasting lines by saying, “I pronounce you man and wife. Proceed with the execution.” But the ship runs over the African Queen, igniting the torpedo, sinking the Louisa. Rose and Charlie jump off and are thrilled that they have completed their mission. Rose no longer needs to be subservient to anyone and Charlie requires the African Queen as his substitute companion. They sing, and their harmony as equal partners replaces the noisy voices at the beginning of the film, as they swim off together in married bliss.

The next film is Inside Llewyn Davis.

The Asphalt Jungle

SPOILER ALERT! The plot will be discussed.

Turner Classic Movies had a Sterling Hayden night, so after last week’s The Killing, I’m following up with another crime movie starring the actor. The Asphalt Jungle (1950), was directed by John Huston, who also co-wrote the screenplay. The title of the film obviously implies that the supposedly civilized paved environment of a U. S. city contains all of the wild dangers that lurk in a remote forested locale. The titles appear over the brick-laden ground of a dingy, rundown city which shows how the hardness of the topography mirrors life there. 

A police car appears which shows the need to guard this environment. The cops are looking for an armed man. Dix Handley (Hayden) evades the cops as he goes to a dive restaurant run by a man with a deformed back, Gus Minissi (James Whitmore), who hides Dix’s revolver in the cash register drawer. The image suggests that there is the threat of violence hidden beneath the surface of life here. The policemen come in and search Dix as Gus adds to the ruse by acting as if he doesn’t know his old friend, Dix. Gus is knowledgeable enough to demand a search warrant before the cops go over his place. They arrest Dix on the charge of vagrancy, which is just an invented reason to bring him in, since the man was simply sitting at the counter.

The arresting cops tell Lt. Ditrich (Barry Kelley) that Dix served time for dealing in illegal firearms and escaped prison once. They put Dix in a lineup before other cops and a witness to a robbery with two other men who do not fit in with society. One who was suspected of murder and the other for attempting suicide. The men don’t look alike and one is short. Ditrich pressures the witness to pick Dix, saying the man said he saw a tall fellow with a brown suit and a wide-brimmed hat. The lineup is obviously rigged to get the witness to identify Dix, but the man looks afraid and won’t go along with the sham. Dix reveals a sly smile, knowing he’ll get off, since fear is a potent weapon. Ditrich is then told to report to Police Commissioner Hardy (John McIntire). 

Hardy comes down hard on Ditrich because of all the crimes committed in the area under the man’s jurisdiction. Ditrich says that they believe Dix is behind a great deal of the larceny, but the witness backed down. Hardy, who doesn't care about following the rule of law to get desired results, angrily tells his lieutenant to lock up the witness until he gives them what they want. He tells Ditrich to destroy the places that conduct small-time gambling operations, although Ditrich implies that the betting is a harmless vice. Hardy points out that Ditrich’s men failed to tail a dangerous convict, Doc Erwin Ridenschneider (Sam Jaffe), after he was released from prison that day. (The Coen Brothers pay homage to this film by giving the same last name to Tony Shalhoub’s lawyer in The Man Who Wasn’t There). Harsh Hardy continues his intimidation by threatening Ditrich with demotion or being brought up on charges if he doesn’t do better dealing with the criminals. We have here the first examples of the fine line between legal and illegal behavior.

A taxicab brings Doc to a neighborhood that the driver, Charles Wright (Benny Burt) warns is so scary a person could get killed just for a “clean shirt.” The menacing jungle metaphor of the film title definitely works here. Doc wants to see Cobby (Marc Lawrence), who is very respectful when he realizes who his visitor is. Doc, who has a German accent (could the film be invoking left-over WWII animosity here?), says he has a job that can net at least a half a million dollars. Doc needs fifty thousand dollars to bankroll the operation and wants Cobby to connect him to Alonzo Emmerich (Louis Calhern) for the funding. While Cobby makes a call, Doc, who appears prim and proper in his appearance, is really sleazy underneath that facade, as he looks at the sexy, scantily dressed women depicted on Cobby’s wall calendar. Dix, who doesn’t pretend to be anyone but his raw self, walks in at that moment. When Cobby returns, Dix wants to place a bet on a horse race. Cobby tells Dix he is reaching the limit he owes, and Dix is intimidating as he won’t take any of Cobby’s dismissive attitude. After he walks out, Doc asks about Dix, apparently interested in Dix’s toughness. Cobby tells Doc he can meet Emmerich later.

Dix is back at the restaurant, and Gus is feeding a cat. A customer who drives a truck is combative with Gus, saying how he hates cats and runs them over when he sees them. After he calls Gus “Humpty Dumpty,” Gus gets off good, tough lines when he says, “You’re just passing through, only not fast enough. If I ever see you running over a cat, I’ll kick your teeth out.” Gus then physically throws the man out. Despite his toughness, Gus at least has a soft spot for animals, showing a humane side to him. Gus also shows concern for his friend as he says he won’t give Dix back his gun because he’s trying to protect him since the police are cracking down on people like Dix. Dix trusts his old friend and lets his pal hold onto the gun. He does ask him for the $2,300 he owes Cobby, because he says he would lose self-respect if he looked like he was welching on the bookie. Dix, too, has a certain code, as many of the dark characters in film noir films do. Gus tells Dix to go home for his own safety. He tells him he’ll get him the money and encourages Dix, in stylized film noir language, “don’t get your flag at half-mast.” 

After Dix leaves, Gus makes a call to Louis Ciavelli (Anthony Caruso) and bullies the man into trying to help acquire the money Dix needs. Louis is upset by being pressured and tells Gus he is, “a low-down, dirty scum, to talk to me like that!” It is the first of several uses of the word “dirty” or anything that is filthy to refer to the city and its inhabitants. Louis appears troubled as he looks at his half-asleep wife, Maria (Teresa Celli) rocking their crying baby. The scene shows the pressure on average people with families who go back and forth over the no-man’s-land between the criminals and the cops to survive.

Doll Conovan (Jean Hagen), her first name sounding like a plaything or a condescending term which men called women, shows up at Dix’s place. She is upset because the police closed the club where she worked. She begins to cry as she points out the unfortunate coincidence that she lost her job on her payday. She shows up with a suitcase and offers many apologies for coming over so late. She seems vulnerable and it looks like she wants Dix to help her out. She finally asks in a halting manner if she can stay for a bit, and he agrees. But he tells her not to “get any ideas,” making sure she doesn’t think she can entangle him in any romantic commitment.

Doc meets with Emmerich, who turns out to be a corrupt lawyer who defends criminals. He is the film’s prime example of a crook with a legitimate cover. Doc says the actual merchandise, precious jewels, will amount to one million dollars, for which they will be able to clear half a million through a fence. Doc says he needs financing, men, and a way to dispose of the take. Cobby recommends Louis as the “box” man (a safecracker), but they also require a driver, and a “hooligan,” a violent person who will provide the muscle. Doc wants to fence the stolen goods in the Midwest, but Emmerich offers to contact people he knows who would be interested in the merchandise. He calls them very “respectable” men. The discrepancy between outer legitimacy and inner corruption is again stressed. Doc doesn't seem to like this first deviation from his plan, but the quickness of acquiring the money probably appeals to him. Doc’s preoccupation with women comes out once more when he says he will go to Mexico after the caper and chase after females there. This fantasy illustrates Doc’s version of the paradise he wants to escape to. Doc is a career criminal whose motive is to have cash, but he wants to use it for sexual gratification.

After the men leave, Emmerich approaches the sleeping Angela (an early role for Marilyn Monroe), whose heavenly name may be inappropriate since she is having an affair with Emmerich. She calls him “Uncle,” probably because it was part of an act to present the respectable appearance of a family relationship. He calls her “some sweet kid,” but she moves like quite an adult woman. She kisses him before going to her bedroom, and looks seductively at him as she closes the door. Emmerich then calls Bob Brannom (Brad Dexter) while he lasciviously fondles Angela’s high heel shoe. Emmerich wants Brannom, a private investigator, to collect debts from people who owe Emmerich money so he can finance the robbery.

Gus calls Dix in the morning to say he has something for him, which is obviously the money for the betting debts. Doll heard Dix talk in his sleep, and he said, “Corn Cracker,” which Dix says was the name of a horse his family owned, “a tall black colt.” He dreamt that he stuck with riding the animal even though it banged him around, and his family was proud of the way he rode. He says, in reality, the horse threw him, and his father was disappointed in him, which shows how life doesn’t always live up to the expectations viewed in one’s dreams. It may also indicate why Dix set out to show he can be tough. What follows also shows how an idyllic existence can turn into a tragic one. Dix is nostalgic about how he grew up on a large farm with many horses, and the property was part of a rich family history. Then things went badly quickly. His father died, they lost the corn crop, and the colt broke his leg and was put down. When he and his brother had to leave their home, he swore he would get his old life back by making enough money to buy back the land. But, instead of riding horses, he bet on them, and lost what he saved. He keeps thinking his luck has to change (just like in last week’s The Killing, plans have a tendency to go wrong). He says he would like to return to the farm and wash off the “city dirt,” (Another instance of the word used to describe the unsavory life here). His story fits into the American myth that idealizes the frontier as a new Garden of Eden and paints the city as an evil place. So we have Dix’s motivation for committing crime, as he has fallen out of paradise and is trying to buy his way back in. He keeps ignoring Doll, dismissing her concerns, as she mentions how she, unlike him, didn’t even have an upbringing worth remembering. 

Dix throws the cash he owes at Cobby, saying he doesn’t like being humiliated in front of a stranger as before. His actions and attitude demonstrate that Dix carries the scars of being criticized as a youth and losing his family’s reputable standing. Cobby is probably afraid of the volatile Dix and is quite congenial now. He tells Dix that he should hold onto his money and then Cobby will tip him off when to bet on a fixed race. Corruption is fairly pervasive here, as in other film noir stories. Doc arrives just as Dix is leaving. When Cobby says he wishes Dix wasn’t so angry about his debt, Doc rightly assesses that paying a debt may be a matter of pride for Dix, who, as we know, lost his farm because of being debt-ridden. Doc discovered that Emmerich, despite those misleading appearances, actually did not have much money, so Doc is naturally concerned. Ditrich shows up and we see that he is also in league with the bookies, as the line between the law and the outlaw has become blurred. Ditrich says he was never officially there at Cobby’s place and therefore didn’t see Doc. He tells Cobby that for purposes of appearances (that word again) he must do a raid on Cobby’s locale to satisfy his boss. Cobby slips him a bribe and talks Ditrich out of the plan. Doc tells Cobby after the cop leaves that he doesn’t trust policemen because one never knows when they will return to being “legit.” Here is another reference to the tendency to easily stray over that legal line.

Just as Brannom shows up at Emmerich’s place, the butler says that Mrs. Emmerich is not feeling well. The philandering Emmerich shows that he is not a very caring husband, and says he’ll check in on her later. Brannom tells Emmerich that only a few people were willing to repay some of the debt owed. Emmerich is desperate to be part of the heist because he is actually broke. His agitation makes it seem that he is out of his league as a crook. But when he admits to Brannom he is bankrupt, he then reveals his plot to rob the jewels, and how he will try to get all of the loot for himself. He will say that by being the person to contact the fences, he can hold onto the stolen goods. He will then leave the country with the jewels, platinum, and gold. Even Brannom compliments him on his double-crossing skills. But Emmerich needs the fifty thousand dollars to buy in. Emmerich is willing to split the take fifty-fifty with Brannom, who has a plan (everybody has a plan, but as we have heard they often “go awry”) to get the money out of Cobby. There is no honor among thieves here. 

Doc and Cobby interview Louis, who is an accomplished safecracker. As Cobby counts out the upfront cash for Louis, he starts to perspire. Cobby says that money makes him “sweat.” His lack of cool steadiness in a situation that is stressful does not bode well for the robbery. Louis says there is only one man who is worth hiring as a driver and that is his friend, Gus. As for the “hooligan,” Doc thinks Dix is a “determined man” who is also smart. Since Dix is a friend of Gus, Doc wishes to hire Dix. Louis talks tough, but he cares about his family and wants to get back home because his baby has another cold. He is one of those individuals who goes back and forth over that line that separates respectable people from social transgressors. He is proud to show family pictures. He said he told his wife not to take the sick child outside because, “if you want fresh air, don’t look for it in this town.” His remarks mirror Dix’s statement about wanting to wash the “city dirt” off of him, and fits in with the city versus the country theme mentioned earlier. The intelligent Doc figures out that it is Cobby’s money being used to finance the job and Cobby admits that it is. Brannom lied to Cobby, saying that Emmerich didn’t want the transaction to show up on his records, and promised to pay him back later, after they scored the jewels. Here we have a deception, the covering up of Emmerich’s lack of funds, hiding another deception, Emmerich and Brannom’s plot to re-steal the robbed jewels. When Doc asks Cobby if he’s worried about Emmerich, Cobby hesitates and gives a tepid “No” for an answer. It’s another indication that there are cracks in the foundation of this operation.

Doll is packed and tells Dix a friend of hers will let her stay at her apartment since she is leaving town. Dix looks like he now will actually miss Doll. He offers her some money, but Doll says he has done enough. All she asks for is a kiss goodbye. As she heads down the stairs he calls out to her. Doll’s face lights up, as if she hopes Dix will ask her to stay. He says he wants her address so he can contact her (which will occur later under unfortunate circumstances). Her disappointment chases the smile off of her face and she leaves. Cobby calls Dix and sets up a meeting. Doc tells Dix, Louis, and Gus his plan, then meets with Dix alone afterwards. Doc’s instincts are accurate again as he tells Dix he doesn’t trust Emmerich. He wants to ensure that when they deliver the goods to Emmerich to be fenced that they receive their payout right then, suggesting that he doesn’t want Emmerich to take off with the jewels. But despite his perceptiveness, Doc continues to keep Emmerich in the game instead of cutting him out since Cobby is now doing the financing. This decision is a fatal flaw in Doc’s otherwise thoroughly devised plan.

Emmerich prepares to escape, not only from his financial worries but also from his ailing wife, May (Dorothy Tree). She calls to him from her bed, wanting attention, but he just wants to leave, telling her she can call the help if she needs anything. But, she wants affection and caring, and the selfish Emmerich provides neither. He won’t even stay to play cards with her, stating that business takes precedence.

Louis goes through a manhole to an underground passage to gain access to the site where the robbery will take place. The subterranean image is another example of how the true nature of what is happening hides below the outward appearance of things. Louis breaks through a wall and opens the building door to let the other men in. They avoid the electric safety beam protecting the vault. Louis blows up the heavy metal outer door and gets to work on the inner safe. But, despite Doc’s meticulous foresight, there are unforeseen events that result from the crew’s actions. The explosion causes alarms to go off in other nearby establishments, which is then followed by the sound of police sirens approaching. The crooks gain some time since the police must check out the locations where the alarms went off. After taking the jewels, they head out, but there is someone at the door. Dix grabs the guard and knocks him out. But, the man’s gun hits the floor, goes off, and the bullet hits Louis. They go out through the hole in the wall, enter the underground passage, and exit through the manhole, carrying Louis. Gus wants to take Louis to a doctor, but Louis, the family man, wants to go home.

Emmerich and Brannom wait for the others to arrive. Emmerich, a nervous money man like Cobby, frets over the tardiness of the robbers. Brannom is like the thieves, a man taking risks while those that hire them wait in the background. Brannom says that he used to lack confidence until he realized those with the money had “front, nothing but front.” In other words, behind the facade of these wealthy types there is no real strength to rely on once those supposedly strong appearances start to crumble. 

Doc and Dix arrive. Both of them don’t like the surprise appearance of Brannom. Emmerich, following his own scheme, says that he needs a couple of days to secure the cash from his contacts. Doc complains that it is dangerous for him to carry around the large bag of jewels. His statement leads right into Emmerich saying his house is a safe place to stash the goods, but he knows enough not to insist, saying it’s up to Doc to decide what to do. Both Doc and Dix are wary, and Brannom decides to jump the gun by pulling one out. Emmerich is upset, because now his plot, too, is not going according to plan. In a good film noir line, Brannom says that if Dix makes a move, “he’ll never pitch another fork full of manure,” a condescending comment about Dix’s past. Dix tries to throw Brannom off guard by saying the man has the upper hand. When Doc tosses the bag to Brannom, he and Dix exchange shots. The bullet that hits Brannom is instantly fatal while Dix takes one in the side. Emmerich demonstrates that lack of internal fortitude Brannom mentioned by whimpering. Dix yells at Emmerich, saying he has no “guts” for the double-cross he tried. Dix asks him, “what’s inside, what’s keeping you alive?” Doc stops Dix from shooting Emmerich, because he has a proposition for Emmerich. He wants him to approach the company that insures the jewels and ask for 25% of their worth so that the company can save paying out the entire amount. Emmerich agrees, which again shows that corruption occurs on both sides of the line separating the forthright illegal world and the hypocritical for-appearances-only legal one.

But the illegal actions of the criminals also spill over into the lives of the innocent. At Louis’s apartment, Maria lashes out at Gus as she rejects the man’s attempt to cheer her up about Louis’s chances of survival. When Gus gets near her baby boy, Maria yells at him to stay away, suggesting that the danger in his presence is infectious. Gus told her that her husband was in a fight, but Maria sees through this latest lie. She accuses Gus as the one who always gets Louis into trouble, and makes a reference to his deformed back, suggesting that it is an outer indication of internal corruption. She apologizes afterwards, and Gus says he was born with the humpback, “I didn’t grow it myself.” His deformity becomes a symbol for the burdens some inherit due to forces beyond their control, such as poverty, death, or illness, which is what occurred in the situations involving Dix and Louis. There are sirens in the background, and Maria equates the sounds with what would emerge from “a soul in hell.” The wailing seems to be a lament for what is happening and a warning signal for the bad times that will occur. 

Emmerich dumps Brannom’s body off a waterfront. While Dix tends to his bullet wound, the distraught Cobby wonders, “How can things go so wrong?” It's the futility in trying to master the many variables which are beyond one’s control that can lead to chaos that is at the heart of this film, and last week’s The Killing. Gus calls Dix and warns him that the cops are combing the area so they should hide out at the store owned by Eddie Donato (Alberto Morin) because that man’s neighborhood seems like a nice area and the police won’t bother them there. Here is another attempt to hide behind reputed respectability. 

At Donato’s place, Doc gets a call from Cobby saying Emmerich was able to make a deal with the insurance company. Emmerich now plays cards with his grateful wife. He probably has been shaken by events and is retreating emotionally to that which he can rely upon. However, his feeling of security does not last long as two policemen, Andrews (Don Haggerty) and Janocek (James Seay) arrive. Brannom’s body was found in the river with a bullet hole through his “pumper,” (a good noir word). The police found blood at the jewelry establishment and since Brannom was found dead shortly thereafter, the cops suspect a connection. They also found on Brannom a list of names on Emmerich’s stationary. Emmerich is able to explain how Brannom was attempting to collect debts for him and assures the cops that Brannom wouldn’t get involved in a robbery as Emmerich attempts to distance himself from the heist. For his alibi, Emmerich says he was with Angela the night before. After the policemen depart, Emmerich calls Angela to make sure she backs up his story, saying it has to do with “good old dirty politics.” The figurative filth of the city is noted again here. Emmerich returns to his wife’s bed, but she notes he looks upset. He tells her about the shooting death of an employee. She says she worries about him because he has defended so many criminals. He tells her those who commit unlawful acts are not that different from the rest of the population. He says, “Crime is only a left-handed form of human endeavor.” Earlier, Louis said he didn’t like Dix because he was like a left-handed baseball pitcher, having “a screw loose.” The Latin word for left is “sinister,” which has come to indicate something dangerous. So, the film is saying that there are two parts to each individual, the good and the bad, the lawful and the unlawful, just as there are two hands attached to the same body. And, there is the potential for anybody to cross over from the Dr. Jekyll side to the Mr. Hyde one. 

Doc is again ruminating about those beautiful women in Mexico. He wants to buy his way back into the good life there. He notes the altitude as being eight thousand feet. It’s as if he wants to rise above everything by having descended into crime to do it. He asks Dix if he wants to go there. Dix, as he said earlier, just wants to go home to be on the farm again. Doc says there’s “nothing” there. Doc, who looks elegant on the outside, has an emptiness inside. Dix the “hooligan” is the one who has something still pure at his center, the desire to return to the paradise he was expelled from despite how far he has traveled away from it. Eddie brings a newspaper that has Doc’s picture on it and a story that says that they are offering a bounty for the convict. Dix warns Eddie to keep his mouth shut about knowing them, but it is noteworthy that Dix and Doc leave to keep their host safe. Doc expects to be able to unload the jewels the next day. However, there are a number of people trying to see the police commissioner who have said they saw Doc, looking to cash in on the reward money, and revealing how greedy everyone can be.

Doc and Dix try to stay at a railroad yard, but there is a cop there who recognizes Doc. There is a struggle, and Dix knocks the man out, but not before he hits Doc on the head. Dix has to drag Doc away. Dix and Doc go to where Doll is staying (a lot of D names here). Even Doc now complains about how odd things, like the burglar alarms going off and the gun firing when it hit the floor, messed up his hours of trying to plan the robbery down to the last detail. He calls them “blind accidents,” things that can’t be foreseen. But, he admits he knew that dealing with Emmerich was wrong, but “greed blinded” him. In this case his selfishness eclipsed the power of his reason. So we have those negative external factors over which there is no control (like Gus’s deformity, Louis’s child’s illness, and those listed by Doc), and those of our own making. Doll asks Dix if there is a reward out for Doc, to which Dix says, “Mind your own business,” since he doesn’t want Doll to get any ideas about turning the man in. The implication is greed can be anywhere. 

Lt. Andrews tells Commissioner Hardy that Angela vouched for Emmerich. Hardy is disgusted by the married Emmerich getting involved with such a young woman. But he says that he expects such disreputable behavior from Emmerich, an “educated man who uses his brains to circumvent the law.” Hardy’s observation here mirrors what Emmerich already observed about how admirable and contemptible behavior can go hand-in-hand. The cab driver who picked up Doc is brought in and he tells Hardy he dropped the crook off at Cobby’s place. He identifies Doc when Hardy hands him a photo. One of the men in Hardy’s office recognizes the address the cabby stated and says that it was the location of a bookie. Hardy calls Lt. Ditrich to get a search warrant for Cobby’s address (one that the crooked Dietrich already knows). Officer Janocek now informs Hardy about the policeman who was injured when he recognized Doc at the railroad barn. Hardy says they’ll close in on the area where Doc was seen.

Ditrich works the politics of the situation and figures that he’ll be recognized for breaking the case if he finds Doc. He tries to get information on Doc’s whereabouts from Cobby, who pleads ignorance about the robbery and the location of Doc. Ditrich says he can make a deal where Cobby will get a short jail sentence if he testifies, but Cobby counters by saying he’ll inform the police that Ditrich was accepting bribes. The weak Cobby breaks down after some slapping around inflicted by the cop. The scene reveals how these two men have only one concern in mind, their own self-interest. 

Emmerich asks Angela if she would like to get away to some exotic locale, and she excitedly picks Cuba. Emmerich wants her out of town to, what else, protect his own skin so the cops won’t try to get the truth out of her about his phony alibi. But, the wish to leave is another example in the film of the desire to escape the metaphorical dirt of the city. Hardy shows up with Andrews and other cops to arrest Emmerich since Cobby gave Ditrich a confession. Angela, using her beauty as a tool for her selfish needs, tries to seduce Andrews, but the policeman urges her to tell the truth about Emmerich’s false alibi. Emmerich shows some generosity when he urges Angela to tell the truth, and afterwards comforts her by saying she’ll have many trips in her future. He says he would like to get in touch with his wife. He starts to write a suicide note to her, and realizes the futility of trying to apologize for his actions. He takes a gun out of a desk drawer and chooses suicide as the punishment for his crimes.

The fallout from the operation blowing up in the perpetrators’ faces continues. The police bring Gus into the jail where Cobby already resides. Gus reaches for Cobby through the cell bars for being a “fink,” threatening him with death once the word gets out that he betrayed his fellow crooks, which is a sort of code of law among the lawbreakers. The deal with the insurance company fell through with Emmerich’s death. Doc asks for some cash from Dix to get out of town after Dix declines the offer to go with him. Dix has plans to return to Kentucky, to escape the city that has been part of his moral downfall. Dix won’t even take any of the stolen gems since he has no connections to fence the merchandise. He even refuses the five grand that would be part of the money acquired when Doc sells the goods. Despite what has happened, he’s still making plans. Even Doll refuses a single stone, as if contact with it may contaminate her with the greed disease. 

Doc gets a cab and luck is with him as the driver is from Germany. He persuades the man with a big tip to take him all the way to Cleveland, saying they can stop along the way for a nice meal. In contrast to that pleasurable getaway, Dix’s wound has started bleeding again as he plans on driving out of town in a car that Doll has acquired despite all the policemen in the area. She sees he is in no condition to drive, and insists that she go with him. He says he doesn’t “get it,” as to why she would risk being with him. He has been on his own for so long, just looking out for himself that he has difficulty understanding that love involves self-sacrifice. 

At the restaurant where Doc has stopped, he sees a very young, pretty girl, the object of his lustful obsession, complaining that her date doesn’t have enough money to show her a good time. The young man doesn’t have change to play the jukebox so she can dance. The lascivious Doc sees a monetary opening to watch the girl dance suggestively. Afterwards, there are cops outside who stop him and find the jewels hidden in his coat. When Doc asks how long they have been out there, one of the policemen says two to three minutes, which Doc notes is the length of a song on a record. He realizes he lingered there too long to indulge himself, as his weakness for sexual indulgence (just like his greed) betrayed him.

Dix passes out in the car at a railroad crossing. Doll finds a local doctor, who sees that Dix suffered from a gunshot wound. The physician calls the local sheriff, but Dix regains consciousness and hears the phone conversation. He grabs Doll and gets back to the car and they drive off. Meanwhile, Hardy holds a press conference, where he notes that Lt. Ditrich’s complicity in illegal activity has been exposed. Hardy uses the movie’s metaphor for crime in the city when he says of some corrupt cops, “the dirt they’re trying to clean up is bound to rub off on some of them.” Hardy turns on the police radio’s various channels that report crimes. He says the communications are “cries for help.” He says people are “being cheated, robbed, murdered, raped,” and it is happening 24/7. He says, “It’s the same in every city in the modern world.” He describes a dystopian present, not future, and suggests that they must tolerate the existence of bad cops since if they give up on those that do try to fight society’s predators, then, “the jungle wins.” Hardy says that only one man remains to be caught, “a man without human feeling or human mercy.” But, Hardy doesn’t allow for the pervasiveness of the corruption of the so-called legitimate lawbreakers who hide their crimes. And, as we have seen, Dix has many sides to his personality, and is not the “hardened killer” Hardy described, as he shot Brannom in self-defense.

Dix is delirious now as he drives through the Kentucky farmland, and he says that if his father would just hold onto the “black colt” (which we know died a long time ago) everything will be okay. He reaches the ranch where he grew up, wanders onto the fields, but collapses and dies. Two horses, appropriately, come up to him, nuzzling Dix, as if tucking him in for his eternal sleep. He tried to return to his American Eden. But as F. Scott Fitzgerald wrote about another fallen criminal wanting to reclaim the idealized past at the end of The Great Gatsby, “his dream must have seemed so close that he could hardly fail to grasp it, He did not know that it was already behind him, somewhere in that vast obscurity beyond the city. Where the dark fields of the republic rolled on under the night.”

The next film is Take Shelter.