Director: Anthony Mann
By Marilyn Ferdinand
There are often great pleasures in the programmatic films churned out by Hollywood’s independent film studios. Like Roger Corman’s productions, many of these movies gave future cinematic titans experience and chances to experiment. Such a film is Railroaded!, a fairly routine crime drama made by Poverty Row’s Producers Releasing Corporation that flirts with being a full-blown film noir thanks to the edgy direction of Anthony Mann and his cinematographer Guy Roe and the obsessive performances of John Ireland and Jane Randolph.
We start in noir country—a nightscape of a city street lined with bright theatre marquees. The camera moves down the street and swoops down to a close-up of a shop window advertising “Clara Calhoun: Your House of Beauty.” The door opens to Clara herself (Jane Randolph) ushering a happy patron with a new coif out with hopes that she gets home safely. The remark was meant to flatter the patron, but it has portends of a tragedy soon to befall the shop.
Clara runs an illegal bookie operation in the back room of her shop. After she closes up, she and her assistant Marie (Peggy Converse) start counting the take. Marie goes to the front of the shop to lock up, and Clara opens and closes the back door three times to signal two men in a laundry truck. They enter the shop to steal the gambling money. At the same time, a policeman patrolling the street hears Marie scream and shoots into the shop. He hits one of the robbers, but is killed by the other. The two men flee, with the unharmed man, Duke Martin (John Ireland), abandoning the truck and his badly injured partner, Cowie Kowalski (Keefe Brasselle), in front of a doctor’s office. Clara and Duke, lovers and conspirators, bemoan their bad luck but begin their campaign to frame the owner of the truck, Steve Ryan (Ed Kelly), as the gunman who killed the cop.
The film has a fairly standard plot that moves through Steve’s arrest by Det. Mickey Ferguson (Hugh Beaumont), Ferguson’s growing suspicion that Steve is innocent, and his progress at uncovering and apprehending the real murderer and making time with Steve’s beautiful sister Rosie (Sheila Ryan). Among the complications are Rosie’s independent attempt to find the killer, which causes her to cozy up to Martin; Martin’s growing paranoia about anyone who could tie him to the murder and his greed for the money his employer, Jackland Ainsworth (Roy Gordon), makes off the entire bookmaking operation. The final showdown between Martin and Ferguson, with Rosie as the damsel in distress, plays just as expected, as does the closing clinch between Ferguson and Rosie.
It is the bizarre and atmospheric elements in this film that make it more of a standout than its filmic brethren. The robbery has some lurid, adrenaline-inducing moments that raise it above its unpromising beginning. Martin, wearing a Navy scarf belonging to Steve, pushes Marie into the beauty salon, where he intends to rob the cash register as Cowie bags the money from the book operation. A hand rattling door knobs proves to be the unlucky cop, O’Hara, who we soon see in full approaching the salon. His shadow plays against the window, warning Martin and causing him to raise his shotgun and walk toward Marie, warning her not to scream. Mann directs the camera to look straight up the gun barrel, cutting to close-ups of Marie as she backs away and does exactly—and inevitably—what she is told not to do. The menace of the scene almost had me doing the same.
Another crazy, erotic scene occurs when Rosie goes to Clara’s apartment and confronts her, sure she lied when she identified Steve as the killer. Martin is in the apartment, but hides behind some curtains. Accusations and tempers start to fly, and soon we find ourselves in an extended cat fight, with the two women shaking and hitting each other, falling over couches, knocking over lamps, and eventually landing on the floor for the obligatory hair pulling. Martin, like we, watch this fight with a voyeuristic excitement. Rosie eventually stands up and leaves, having gotten denials from Clara, but also the location where Marie has gotten a new job. Clara’s revelation of this information and Martin’s awakened sexual interest in Rosie will cause him to turn on Clara and have her seeking solace in booze.
Ireland and Randolph easily walk away with this film. Ireland plays a psychotic killer and abuser of women with an ingratiating hardness that is fascinating to watch. We just know he’s going to kill everyone he can! Randolph is just as hard and cynical at the beginning of the film; she projects an insolent toughness, and her set-up of the robbery is carefully calibrated. She can’t be shaken from her identification of Steve as the killer, but Martin’s changed attitude toward her turns her into a desperate neurotic who knows she’s suddenly become expendable. Clara goes to a nearby shop to phone Ferguson and take him up on his offer of protection, but Martin has spotted her and crept up on her on the sly. While she stands in the phone booth, too nervous to notice Martin has cracked it slightly to listen in, the cuts between their faces ramp up the tension. The pathos of Clara looking behind her as she walks home to meet Ferguson is rather touching, since Martin is already waiting for her there and certainly intends to kill her.
By contrast, Sheila Ryan seems like a high school girl trying to act tough, and, well, Hugh Beaumont was born to play Ward Cleaver, not a romantic and rugged cop in a proto-noir. They have no chemistry and nothing interesting to say. Check out this dialogue, symptomatic of most of the script:
Criminologist: You know, there are only two kinds of animals that make war on their own kind – rats and men… and men are supposed to be able to think.
Mickey Ferguson: I think you’ve got something there, Doc.
Zzzzzz. And dig those crazy shoulder pads—they fairly mesmerized me with their outrageous awfulness.
I was quite taken, however, with several actors in small roles. Kelly has a great face, and his character is no pushover. He protests his innocence, but expresses cynicism about the wheels of justice. It was good to see a suspect with some balls. Ainsworth’s girlfriend Wilma, unfortunately uncredited, quite reminded me of Claire Trevor. She sits in smug obedience to her keeper in the first scene in which she appears; in the second, however, she’s full of insolence and insults toward the man. In another scene with an interesting walk-on, Martin has agreed to pay a wino to take the fall for the robbery, getting Steve off the hook. The wino, also uncredited, repeats by rote the story he is supposed to tell the police, as though the thought of having money to buy as much alcohol as he wants brought his mind into focus. Neither of these characters has a real role to play in the plot, but as in most great B-films, and especially noir, these small touches add atmosphere that pays big dividends.
In this film, although the police want to get someone to pay for killing one of their own, they expressly state that they don’t want to convict an innocent man. Despite the noirish lighting and truly bizarre set pieces, the lines of good and evil are far too carefully drawn to make this a true noir. In a few years, noir would blossom fully, and cops would be as rotten as robbers. In the meantime, however, Railroaded! provides a crucial and entertaining link in the development of a future noir master, Anthony Mann.