I Walk Alone(in Hollywood Movies) I Walk Alone (1947) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream I Walk Alone on your mobile, tablets and ipads
Plot: Frankie Madison returns to New York after 14 years in prison. Noll Turner, Frankie's former partner in bootlegging, is now a wealthy nightclub manager, and Frankie is expecting him to honor a verbal '50:50' agreement they made when he was caught and Noll got away. Fat chance! Can Frankie, who knows… Runtime: 97 min Release Date: 16 Jan 1947
A film with atmosphere. In spades! (by JohnHowardReid)
Copyright 29 July 1947 by Hal Wallis Productions, Inc. Released through Paramount Pictures. New York opening at the Paramount: 21 January 1948. U.S. release: 16 January 1948. U.K. release: 19 January 1948. Australian release: 18 March 1948. Sydney opening at the Prince Edward: 5 March 1948 ran three weeks . 8,771 feet. 97 minutes.SYNOPSIS: After serving time in jail, Frankie Madison demands a half-share in a nightclub from his old partner, Noll Turner.NOTES: The stage play opened on Broadway at the Coronet on 27 October 1945, closing after only 25 performances. Paul Kelly had the Burt <more>
Lancaster part, while Luther Adler played the heavy. Also cast: Dorothy Comingore, Adrienne Ames, Herbert Berghof, Tom Pedi, George Mathews, E.G. Marshall and Arthur Hunnicutt. Oscar Serlin produced, Harold Clurman directed. COMMENT: The writers have come up with a few fascinating new angles on the classic convict-seeks-revenge plot, turning what could have been merely another gangster story into an engrossing film noir that rivets the attention from start to finish. The sharp dialogue and zesty characterizations of the play have been fleshed out by superlative performances all around. Lancaster is exactly right as the bitter ex-con, an innocent in a now-too-sophisticated world of shady finance. His nemesis is powerfully represented by Kirk Douglas, here reprising his ruthless heavy from Out of the Past. Although she has unjustly copped a fair amount of downgrading from jealous critics, sultry Lizabeth Scott is at her most stylishly convincing best as the put-upon heroine. Also compelling are wonderfully glum-faced Wendell Corey as the harassed accountant who cooks Douglas's books, and George Rigaud as the schemer's confidant. Good to see George in a decent-sized role for once.Other appealing contributors include Kristine Miller as a socialite with a yen for low life; Marc Lawrence as Burt's sympathetic pal for a switch, Marc is operating on the right side here, even if still on the shady ledger of the law ; Mike Mazurki as the doorman-bouncer, also sympathetic to the hero's plight, but nonetheless loyal to his current employer. Mike, in his best role since Moose Malloy, enjoys some of the script's best lines: "Did you see that right hook he caught me with? I always liked the guy. Fifteen years ago, he was the greatest!" The movie is nothing if not superbly lit. The visuals are often quite excitingly photographed and composed. In fact, as usual with Hal Wallis productions, production values are first-class, with really outstanding technical credits, including the appealing seats, attractive costumes, and one of Victor Young's most lovely scores.OTHER VIEWS: This one was written by "George Addison", a pseudonym I used years ago for various newspapers and magazines. My opinions may have changed in the meantime, but the review was valid when it was written and deserves to be reprinted. In fact, I've had people write to me that they preferred George Addison's insights to my own! Like Casablanca, here's another excellent example of an unsuccessful stage play translated into an outstanding movie. And like Casablanca, the credit belongs mainly to producer Hal Wallis who saw potential in the original property and then oversaw its repackaging as a film. In this case, he even persuaded Byron Haskin to resume directing after a break of twenty years in special effects. Haskin has induced solid performances not only from the principals and co-stars but even from minor players like Mickey Knox as the abrasive Skinner and Olin Howlin in a brief bit as a night-watchman. And is that former cowboy star Jack Perrin in a silent walk-on as the cop who looks over the parked taxi? The screenplay incorporates several unusual elements for a film noir. Involved corporate structures, designed to freeze out the Lancaster character, successfully defeat his quest for vengeance. But the ex-con is also sidetracked by a heavy romantic entanglement with a voluptuous but increasingly sympathetic siren. The conventional roles of vulnerably innocent heroine and sexy femme fatale are here skillfully rolled into one. It says much for Lizabeth Scott's utterly convincing portrayal that her playing of this difficult, complicated role never once falters or strikes a single wrong note.In addition to its proud ensemble acting, I Walk Alone also benefits from masterfully realized sets, costumes, lighting and music scoring. This is a film with atmosphere. In spades.
14 years after a betrayal in bootlegging it's time for a settlement (by clanciai)
Burt Lancaster and Lizabeth Scott continue to make a great couple, as they found each other in "Desert Fury". but here it is more sinister in black and white, and there is Kirk Douglas as an even fouler gangster than John Hodiak. Mary Astor is missing here and replaced by a more cynical and less motherly Kristine Miller, who didn't leave a mark on the screen. On the other hand, Wendell Corey is even better here than in "Desert Rage" and makes one of his finest appearances as the hopelessly subjugated slave worker with all his integrity lost. The great scene in the film <more>
is his scene, when Kirk forces him to lecture Burt on bureaucracy leading up to the crisis of Burt's own character and integrity assassination. Fortunately there is still Lizabeth Scott, and she upholds the entire picture, not only by her singing. As a singer she was worse than Ida Lupino.It's neither Burt's nor Kirk's best film, but both are excellent as former gangsters trying to resettle after the second world war, Burt after 14 years in prison and Kirk firmly established as a syndicate mobster. It just can't end well when the two meet again after 14 years when one let the other down.It was probably his performance here that gave Wendell Corey his only significant lead in a noir a few years later, "The File on Thelma jordan", but he was best as a supporting actor and will be remembered best as such - while both Burt and Kirk never stopped rising as stars.
The friendship of Frankie Madison and Noll "Dink" Turner was solid during the prohibition era of the country. They had a good scheme going until Frankie is caught with the goods he is bringing to their speakeasy in Manhattan. Madison has to serve fourteen years for the crime. When he is released from prison, Dave , a mutual friend who now works for Turner is sent to meet the ex-con and help him settle down.Frankie, who wants to be paid for the time he spent in jail, has a lot to square away with his former friend. Madison is taken aback when he goes to pay a visit to Dink's new <more>
club. Not only is it posh, it caters to a high class crowd! In the club he meets two ladies, one the headliner, Kay Lawrence, who is involved with Turner, and Mrs. Richarson, a high society type. Turner wants to use Kay to pump information from Madison, but he soon discovers the duplicity, but in reality, the singer's heart is not into betraying Frankie, who she seems to have taken a liking to. On the other hand, Mrs. Richardson can't get her hands on this new arrival the way she has gotten away with Dink.Dink feels threatened by Madison's arrival into the scene. When they have an argument about the money owed to Frankie, Dink has a plan to get rid of his friend. Dave, the accountant, who has been called to explain to Madison the intricacies of the corporation that owns the club, sees what Dink is trying to do. Frankie Madison gets a chance to get what is due to him. He also gets to keep the gorgeous Kay! "I Walk Alone", directed by Byron Haskin, is a good example of those films that came out after WWII. It's worth a look because of the marvelous cast assembled to appear in it. "I Walk Alone" marks the first time Burt Lancaster and Kirk Douglas appeared together in movies. Although the top billing is given to Wendell Corey, he has little to do in it. The husky-voiced Lizabeth Scott plays the sultry Kay Lawrence with her usual flair. She is beautifully dressed by Edith Head.Victor Young's musical score and Leo Tover's cinematography contribute to the overall success of this movie.
He walked alone until he met the right woman to join to his right. (by mark.waltz)
Having spent 14 years in prison for crimes during prohibition, the melancholy Burt Lancaster has returned home to try to muscle in on what he rightfully believes is partially his, now controlled by old pal Kirk Douglas who has turned their previous illegal enterprise into a corporation. Douglas's bookkeeper Wendell Corey , a younger brother figure to Lancaster, has greatly aged in Lancaster's time away, obviously consumed with guilt over the illegal activities he has had to do at Douglas's demands, and now must keep Lancaster at bay as well. Lancaster takes it into his own hands <more>
to try to force his way in, but as Douglas charmingly tells him, only the board of directors can approve such changes. This leads to Douglas having Lancaster badly beaten up and turns Douglas's songstress mistress Lizabeth Scott onto Lancaster's side, tired of Douglas's involvement with a pushy, wealthy widow Kristen Miller . Sudden betrayal leads to Lancaster being accused of murder, and along with Scott, Lancaster must find a way of clearing his name and see justice finally served, in this case, a cold dish as justice through revenge is normally presented.Along with "The Strange Loves of Martha Ivers", "Desert Fury" and many others, this is a series of Hal B. Wallis produced film noirs where many of the same actors got together as sort of a repertoire company to show off the dark sides of the post war society. Whether returning from war duty, prison, out of town jobs or just drifting along, many of the protagonists here found themselves up against evils they couldn't control, yet were far from noble characters themselves. Lancaster's Frankie is moody, amoral and not above breaking the law. Yet he is aware that he had broke the law which sent him up the river, but is bitter because nobody from the old rackets stood beside him. Douglas, smiling and sly, is a great villain, while Corey is appropriately stone cold as a character barely living whom Lancaster notices seems older than him even though he's younger. Scott, who could go from cold and calculating to purring like a kitten, is a combination of a vixen and a very melancholy baby, but knowing when a bad deal is done, even by the man she thinks she loves. Originally considered for Scott's role, Kristen Miller is deliciously bitchy and cold as the nasty socialite keeping Douglas under her thumb. Unfortunately, her role is underdeveloped, and she pretty much disappears from the second half of the film.Having seen Lancaster in a good guy role , Scott in a very similar part and Corey in a supporting role with homosexual overtones in the color film noir "Desert Fury", I wanted to see how this would compare, and found it to be even better. Douglas basically plays the type of part that John Hodiak had been cast in "Desert Fury", but there are enough twists and turns to make this unique. The film is elaborately designed and photographed, especially the elegant nightclub, and deliciously darkly lit for the intense finale where everything comes out into the open. Then there are some great outdoor shots of Lancaster and Scott on the run, going back into the city for the final confrontation, unconcerned about Lancaster being looked for by the police for murder as he knows they would be looking for him the opposite way. The musical score in the background nicely adds to the tension, although i would have loved to have heard the title song used more often rather than the upbeat jazzy way it is briefly heard. Still, this is one of the better late 40's film noir with an outstanding cast and everything else pulling it together in a tight little package.
Notable for partnering Lancaster with Douglas for the first of seven movies they would make together, although at this early stage in their careers it was Burt who got his name above the title, something in fact he shared with Lizabeth Scott. The film itself is a tense, exciting noir, helmed with no little style by only occasional director Byron Haskin.In the movie, Kirk and Burt's characters go back a long way as youthful partners in crime until, as adults, one job goes wrong and the pair split up, with Douglas's Noil "Dink" as if his first name wasn't silly enough <more>
Carter and Lancaster's Frankie Madison agreeing to share the proceeds in the future even if one of them gets picked up by the law. That fate duly befalls Frankie who serves a fourteen year term and naturally comes out looking for his share from the now high-flying former best pal and partner Dink.The plot may not be original, in fact I've just lately watched Cagney's classic 30's feature "Angels With Dirty Faces" where Cagney and Humphrey Bogart play similar parts to those of Lancaster and Douglas here, but there are nice embellishments and twists to it, plus the two leads are so good in their parts that I can forgive any plagiarism, deliberate or not. Lizabeth Scott is cast as the femme fatale, employed by Douglas as both his mistress and night club singer, who he sets to honeytrap his old pal into divulging his plans, especially as he has no intention of sharing any of his new found wealth with him. I must admit I wasn't fully convinced by Miss Scott's acting here. Besides occasionally seeming to muffle her lines, she also now and again gives the appearance of struggling to remember her words.I liked the turnabout plotting, involving various members of the duo's old gang whose positions are compromised when Frankie's back in town, especially Wendell Corey as the compliant Dave, now employed by Douglas as his complicit, or so he thinks, accountant. I especially enjoyed the scene where Frankie's old-fashioned attempt at a takeover is balked by labyrinthine company rules preventing him just stepping into Dink's shoes. Naturally there's a climactic reckoning between the two old friends in a darkened room and only one of them walks out alive as you'd expect.Director Haskin is right on point stylistically with his camera set-ups, emphasising confined spaces, darkness and shadows. The dialogue is sharp, the narrative well-paced and the motivations of the main characters credible. As I hinted before, I could have done with a little less of Scott's acting and indeed singing, although she is superbly costumed throughout by veteran designer Edith Head, plus there was a fairly pointless "other woman" triangle involving her and the very wealthy Kristine Miller character fighting for Douglas's attention. I'm also bound to say I found the background soundtrack to be a bit too invasive also.These caveats apart, this seems to me to be one of the best Lancaster / Douglas collaboration I've yet seen and that includes "The Sweet Smell Of Success" and "Gunfight at the O.K. Corral". Much higher praise I don't think I can give.