Le passé se venge

This is one of those post-War noir films about a soldier with amnesia. The film is chiefly notable for its excellent expressionist noir cinematography by Austrian émigré John Alton, with some splendid scenes such as two people tensely talking to each other in bold silhouette. Sometimes the stark lighting and dramatic shots are almost too much, as in the beginning when the psychiatrist who has treated John Payne in the Veterans' Hospital tells him as starkly as the lighting of the scene that there are two types of amnesia, organic and psychological, and he has the organic type which cannot be treated because he has shrapnel in his brain. Knowing only that he enlisted in the Army from Los Angeles (he later discovers it was under a false name, which is why the Army cannot discover anything to tell him about his background), Payne is released from hospital and goes back to his origins to see if he can discover anything about who he is. The film moves right along and does not waste time with exposition, so as soon as Payne steps off a train at Union Station, he is recognised by some cops who haven't seen him in five years. Payne then has the shocking realization that he had been a criminal, and he is immediately sucked into dangerous and compromising situations, involving people who want him dead. Ellen Drew is excellent as his former wife who has trouble believing that he is not pretending to have lost his memory, and doesn't want to help him at first. Two of Payne's strong points as an actor were looking bewildered and looking resolute, so he is well cast, as he has to do both in turn. Sonny Tufts is terrifying as a vicious criminal who wants to kill Payne, and one suspects that the film crew must have been scared to death of him. This is a good B thriller of modest pretensions. John Payne was a very nice man with excellent manners and a pleasant personality. I only met him once. My mother and I called on him backstage after he had been in a play. She and he had known each other when growing up in Roanoke and Salem, Virginia. She told me Payne was from what used to be called 'a good family', he was a glamorous young man whom all the girls were chasing, but he got bored with Virginia and decided to become an actor. She had a very high regard for him, and my impression of him was that he was a fine fellow.

Amnesia is not the most original plot gimmick in film. From "Random Harvest" and "Spellbound," from "36 Hours" to "Mirage," from "Memento" to "The Bourne Identity," characters have wrestled with memory loss and struggled to find out who they really were. World War II veteran Eddie Rice has a piece of shrapnel lodged in his brain that has caused his loss of memory, and, once released from the hospital, Eddie heads to Los Angeles, where he hopes to find people who knew him in the past. Handsome John Payne is Eddie, the man in search of his identity in "The Crooked Way," a brilliantly photographed, but otherwise routine film noir. Adapted from a radio play, the derivative plot utilizes voice over to convey Eddie's thoughts and depends on improbable coincidences to bring characters together. Needless to say, Eddie quickly runs into his past, and what he finds plunges him into a murky underworld of gangsters, gunfights, and murder.

With his dark brooding looks, Payne is credible in the undemanding role, and he has solid support from Ellen Drew, the forgotten wife with a new life; Sonny Tufts, a tough gangster boss with a long memory; and Rhys Williams, a policeman who digs into Eddie's criminal past. However, the lazy plot and solid cast are enhanced by John Alton's masterful black-and-white cinematography, which evokes Martin Lewis etchings in its use of light and shadow. Deep black hallways and streets lead to glaring white lights, the slats of Venetian blinds throw bars of shadow across faces, heads are silhouetted while speaking, the lettering on a plate glass window casts words across an office wall, characters are lit from below, white-hot hanging lamps illuminate gaming tables. Alton's outstanding work demands to be studied for its composition, lighting, and focus. Although Alton won an Oscar for his color work on "An American in Paris," his images on any number of film noir and especially this one should have garnered him numerous nominations and wins. Alton's cinematography defines the best in film noir.

While the "Crooked Way" is often cliched and predictable, a solid cast and especially John Alton's images lift the film to essential viewing. John Payne fans should also be pleased, as well as aficionados of amnesia movies. Evidently, loss of memory is more prevalent among characters in Hollywood movies than among the general populace.

The story, about a returning war veteran with amnesia discovering his criminal past, is remarkably similar to SOMEWHERE IN THE NIGHT from a few years earlier. Plotwise, it's not nearly as compelling as its predecessor. The amnesia angle really isn't exploited well and what's left is a rather uninteresting gangster story with bland characters. Decent performances from Payne, Tufts and Drew, but only Percy Helton really stands out. However, this has to be one the best-looking noirs out there, thanks once again to the talents of John Alton. Incredible shocks of bright light amidst deep shadows, unusual framing, dramatic angles, gritty locations... the entire picture is simply gorgeous, textbook noir. It's a shame that such impressive visuals aren't attached to a more engaging plot, but it's still a delight to behold.

The plot for "The Crooked Way" is far-fetched but that isn't a problem if the film is well made. It begins with a soldier (John Payne) talking with his doctor. It seems he was gravely injured during the war and took some shrapnel to his skull. He will live and the doctors have done all they can--but Eddie (John Payne) has no memory before the injury. And so, he sets out for what he thinks might be his old home in order to learn who he was. The trouble is, he might not like who he was AND there are some folks there who might just beat his brains in or worse!

This film represented a big departure for John Payne, as up until this film, he was mostly known as a pretty guy--nice and safe. Here, however, he's a man out to destroy...or be destroyed. Because of this movie, he'd soon go on to make other excellent noir films such as "99 River Street" and "Kansas City Confidential".

As far as the quality of the plot goes, it's generally very good--though you do wonder why the now nice guy Payne's character has become is so pig-headed and intent on nearly getting himself killed. But, with a great (and very tough) plot and characters, and especially a very strong ending, it's well worth your time.

By the way, look for Rhys Williams as the police lieutenant. There's no trace at all of his native Welsh accent here! Nice job, Rhys!

War hero Eddie Rice returns to his home town as a result of a serious head injury that has left him with no real memory of who he is and nothing in his files that suggests where he should go. He decides to hang around ad hopefully meet someone he knows who will introduce him to another and another until his life is back in focus. What he doesn't reckon on though is that the first people to recognise him will be the police – who don't buy the idea that violent hood Eddie Riccardi has "lost his memory". This is a sentiment that gangster Vince Alexander shares when he discovers that the man who turned states evidence against him is back in town.

An interesting concept in this film. The idea that a "war hero" comes back to discover that really he was a violent criminal, a man he himself would have disliked and that he has to deal with the consequences of a past that he has no recollection of. In theory it could have been tough and morally complex and indeed I was hoping that these aspects would make for a dark and strong crime drama. In a way the actual product was both satisfying and a bit disappointing. The plot provides some good drama. It doesn't all ring true and it lacks the moral uncertainty that I had hoped for but it does still work well enough for what it is. If anything the script doesn't totally deserve Florey as director because the latter does do a solid job of working in the shadows and of framing shots to maximise the darkness within them.

The script doesn't make this same effect work within the story or characters though and indeed ethically it is perhaps too simplistic, with Eddie himself being disappointedly disconnected from his past. Of course I have to acknowledge that in this regard John Payne is miscast. He never convinces as a man struggling with anything (other than a sleepy delivery) and there is never a connection to his past in anything he does. Contrast his performance (and indeed what this film does) with Mortensen in "A History of Violence" and you can see where he and the material really don't deliver all they could (should) have done. Tufts works better but in fairness perhaps has a simpler character to pull off. He is a typically tough bad guy, full of patience and menace in his delivery – I liked his scenes but he conspires to make Payne seem weaker by comparison. Drew, Williams, Helton and others all do well enough for what is asked of them but the main expectation was on Payne and the film cannot shake the feeling that he is just not up to the task.

Overall then a solid enough drama but not up to the standard that it had the potential to be. Florey's direction works well with the cinematography (which is perhaps typical for the genre but still good) and it is just a shame that neither the script nor Payne are able to make more out of the potential within the sweep of the story and characters.