I have the highest regard for Don Siegel's directorial capabilities, which he repeatedly proved in films such as INVASION OF THE BODY SNATCHERS (1956, to me one of the most perfectly directed films ever), RIOT IN CELL BLOCK 11, THE LINEUP, DIRTY HARRY, among others. He has a keen sense of the real, and of the difficulties facing any given character at any point. He does not try to find the easy, or pleasant way out: life is tough and you survive or die.
The economy of his direction is evident in PRIVATE HELL 36, saving it from any dishonest and sentimental approach that would have irremediably undermined it. One crucial highlight is the car chase, still spectacular today, reflecting all the potential hazards, and showing the extent to which the unprincipled cop (Cochran) is prepared to go -- not to enforce the law, but to line his own pocket, although the viewer does not know it yet at that point.
Siegel's direction always rests on three pillars: photography, which is superb and to the point in PRIVATE HELL 36; script, which is concise and gripping enough, with the important contribution of Ida Lupino's writing talent; and solid acting.
In the latter department, Steve Cochran is in a class of his own. This good-looking man and seemingly law-abiding cop plays his part so perfectly -- no doubt helped by his sympathetically built character -- that when he steals money from the accident scene, he hardly seems to break the law, and I almost felt like urging Howard Duff not to be stupid but take advantage of the opportunity.
No doubt I would make a corrupt cop, but the point I'm making is that Cochran achieves this seamlessly, without even seeming smug about it.
Lupino provides the other great performance. She is out to have fun regardless, and her morals are clearly loose - in fact, she might even be open to being picked up at a price.
Duff plays very convincingly the part of the honest cop. Sadly, good is seldom as eye-catching as evil, so he is overshadowed by Cochran's subtle shiftiness.
I regard PRIVATE HELL 36 as must-see for anyone interested in film noir, and certainly for any Don Siegel fan like me. 8/10.
The economy of his direction is evident in PRIVATE HELL 36, saving it from any dishonest and sentimental approach that would have irremediably undermined it. One crucial highlight is the car chase, still spectacular today, reflecting all the potential hazards, and showing the extent to which the unprincipled cop (Cochran) is prepared to go -- not to enforce the law, but to line his own pocket, although the viewer does not know it yet at that point.
Siegel's direction always rests on three pillars: photography, which is superb and to the point in PRIVATE HELL 36; script, which is concise and gripping enough, with the important contribution of Ida Lupino's writing talent; and solid acting.
In the latter department, Steve Cochran is in a class of his own. This good-looking man and seemingly law-abiding cop plays his part so perfectly -- no doubt helped by his sympathetically built character -- that when he steals money from the accident scene, he hardly seems to break the law, and I almost felt like urging Howard Duff not to be stupid but take advantage of the opportunity.
No doubt I would make a corrupt cop, but the point I'm making is that Cochran achieves this seamlessly, without even seeming smug about it.
Lupino provides the other great performance. She is out to have fun regardless, and her morals are clearly loose - in fact, she might even be open to being picked up at a price.
Duff plays very convincingly the part of the honest cop. Sadly, good is seldom as eye-catching as evil, so he is overshadowed by Cochran's subtle shiftiness.
I regard PRIVATE HELL 36 as must-see for anyone interested in film noir, and certainly for any Don Siegel fan like me. 8/10.