Anthony Mann didn't like his early films of the 1940s. Only with Desperate, five productions into a twelve-film crime cycle, did he begin to warm up to his cold-hearted pictures. Most lauded for his great Westerns of the 1950s, the best starring James Stewart, Mann ascended the studio system, beginning with second-bill Bs. His crime cycle, beginning in 1944 with Strangers in the Night and ending six years later with Side Street, shows an increasing mastery of mood and menace, advanced by a quartet of collaborations (T-Men, Raw Deal, He Walked by Night, Border Incident) with cinematographer John Alton, a master of emotionally dank lighting. Character types and themes that recur throughout Mann's oeuvre also begin to find delirious expression in his criminal cinema.
As Mann scholar Max Alvarez notes: “The crime pictures are not exceptions in our comprehension of a fully realized Anthony Mann production: like the later films, they are inhabited by psychologically complex, volatile, emotionally scarred protagonists prone to erratic and violent behavior.” In Mann's harsh world, average Joes find themselves summoning untapped aggression to ward off the dangers of an overlooked criminal demimonde. Mann also perfected a subset of the crime film, the documentary-like feature, propelled by a vivid voice-over. This invention would influence everything from Jack Webb's Dragnet to latter-day CSI.
On the occasion of the publication of his new book, The Crime Films of Anthony Mann, Max Alvarez joins us to introduce two films. Don't miss this tribute to Man's inhumanity to Mann.