Film noir has always fascinated me and love many of them, most film noirs seen have rarely been less than solid and it takes a lot for me to dislike one or call them misfires. The interest point though for me, other than that the idea of the story was very promising and the film's title really does draw one in to seeing it, was seeing Charles McGraw playing against type. That was something that could have been an ingenious casting choice or an insane disaster, and was really hoping it would be the former.
'Roadblock' may not be one of the all-time great film noirs, but it is a very solid one and a very good film in its own right. Worth unblocking definitely and any reservations are completely thrown out of the window. There is an awful lot to recommend here in 'Roadblock', even if it is not quite perfect.
Joan Dixon is at times a touch too deadpan and the chemistry between her and McGraw isn't always convincing, though mostly she has the right amount of iciness and allure.
Most problematic though was that the film to me ran out of gas in the last twenty minutes and became too standard and not quite as thrilling as it should have been.
However, for a B movie 'Roadblock' is surprisingly well made. The photography effectively gives off a sense of foreboding claustrophobia and the suitably cold cityscapes are like a character of their own. The music is stock but not cheap stock, is used well, is not ill fitting and is not unpleasant on the ears. McGraw's lead performance is an unexpectedly layered and really quite excellent one, it turned out to be ingenious casting and he and film noir go well together. The supporting cast all do well, particularly formidable Lowell Gilmore.
The script is intelligent and has the hard-boiled edge one can associate film noir with. The story may not blow the mind, but it was suspenseful and had some very nifty and unexpected twists and turns which keeps the viewer on their toes and guessing. It's tightly paced and didn't feel over-stuffed or convoluted, with some nicely choreographed tense action. Especially the river bed shoot-out. Harold Daniels directs efficiently.
In conclusion, very well done film and should be known much more than it is. McGraw alone makes it well worth watching. 8/10
'Roadblock' may not be one of the all-time great film noirs, but it is a very solid one and a very good film in its own right. Worth unblocking definitely and any reservations are completely thrown out of the window. There is an awful lot to recommend here in 'Roadblock', even if it is not quite perfect.
Joan Dixon is at times a touch too deadpan and the chemistry between her and McGraw isn't always convincing, though mostly she has the right amount of iciness and allure.
Most problematic though was that the film to me ran out of gas in the last twenty minutes and became too standard and not quite as thrilling as it should have been.
However, for a B movie 'Roadblock' is surprisingly well made. The photography effectively gives off a sense of foreboding claustrophobia and the suitably cold cityscapes are like a character of their own. The music is stock but not cheap stock, is used well, is not ill fitting and is not unpleasant on the ears. McGraw's lead performance is an unexpectedly layered and really quite excellent one, it turned out to be ingenious casting and he and film noir go well together. The supporting cast all do well, particularly formidable Lowell Gilmore.
The script is intelligent and has the hard-boiled edge one can associate film noir with. The story may not blow the mind, but it was suspenseful and had some very nifty and unexpected twists and turns which keeps the viewer on their toes and guessing. It's tightly paced and didn't feel over-stuffed or convoluted, with some nicely choreographed tense action. Especially the river bed shoot-out. Harold Daniels directs efficiently.
In conclusion, very well done film and should be known much more than it is. McGraw alone makes it well worth watching. 8/10