I Walk Alone is interesting in that its very rare for a noir story to even acknowledge the previous era (prohibition). The story here overtly bridges the gap between the 1930s gangster film and the new post-war noirs. Lancaster took the fall for some bootlegging, and is out after a 14 yr sentence. Neat idea.
Particularly clever and effective is a tense confrontation between stoolie Lancaster and Douglas in ascent, which underscores just how corporate and despicable gang activity had become in the intervening years. Lancaster (as in Criss Cross) is completely hapless throughout the story, and it's never more embarrassing for him than when he gathers some henchmen and bursts in on Douglas to demand his portion of the bank, only to falter because he can't understand the deliberately circumlocutious structure of the new organization. Condescending Kirk Douglas and Wendell Corey explain it to him point by point, humiliating him and gaining the upper hand. You feel bad for him but you can't help laughing, as the future of the nation is staring you back in the face; Corporate crime and plausible deniability. It's a great little scene.
Some of the shots are nice, as you'd expect from noir. But in a distinctly non-noir angle, Lancaster never gets the jump on anyone, and requires the pity of a doting, supportive woman (Lizbeth Scott) for the entirety of the movie. Scott is second best material as usual (She's awkward). But, it's a decent B noir.
Particularly clever and effective is a tense confrontation between stoolie Lancaster and Douglas in ascent, which underscores just how corporate and despicable gang activity had become in the intervening years. Lancaster (as in Criss Cross) is completely hapless throughout the story, and it's never more embarrassing for him than when he gathers some henchmen and bursts in on Douglas to demand his portion of the bank, only to falter because he can't understand the deliberately circumlocutious structure of the new organization. Condescending Kirk Douglas and Wendell Corey explain it to him point by point, humiliating him and gaining the upper hand. You feel bad for him but you can't help laughing, as the future of the nation is staring you back in the face; Corporate crime and plausible deniability. It's a great little scene.
Some of the shots are nice, as you'd expect from noir. But in a distinctly non-noir angle, Lancaster never gets the jump on anyone, and requires the pity of a doting, supportive woman (Lizbeth Scott) for the entirety of the movie. Scott is second best material as usual (She's awkward). But, it's a decent B noir.