I’m really enjoying these 40s noir films, they’ve got such a charm and are really great to watch. The cinematography is wonderful, very punchy with a lot of contrast, this one is really beautifully composed with so many lovely, shadowy shots. You can’t really beat a short, straightforward, gritty noir; especially when it’s quite a short one, good film to end the night with. I still need to dive into the classics of the decade and some more varied genres, very exciting! Overall this was a really great film, exciting moments with some quite pretty scenery.

I’m really enjoying these 40s noir films, they’ve got such a charm and are really great to watch. The cinematography is wonderful, very punchy with a lot of contrast, this one is really beautifully composed with so many lovely, shadowy shots. You can’t really beat a short, straightforward, gritty noir; especially when it’s quite a short one, good film to end the night with. I still need to dive into the classics of the decade and some more varied genres, very exciting! Overall this was a really great film, exciting moments with some quite pretty scenery.

I love the cinematography in this one my top shots from this are the two cars on the beach one and the final fight between Rick and Joe seeing the flames blaze while the men fight is great.


The concept of Joe being in-between two women kind of plays out like a devil and angel on your shoulders. Ann is the lawful one wanting Joe to turn himself in while Pat is aiding Joe in his escaping of the US borders in search of a new life.


Mann does great with shots like the fugitive getting gunned down in front of the house about halfway through the movie which was probably stunning to see in the 40s and then beachhouse fight scene was shot really good in a blocking perspective.

I love the cinematography in this one my top shots from this are the two cars on the beach one and the final fight between Rick and Joe seeing the flames blaze while the men fight is great.


The concept of Joe being in-between two women kind of plays out like a devil and angel on your shoulders. Ann is the lawful one wanting Joe to turn himself in while Pat is aiding Joe in his escaping of the US borders in search of a new life.


Mann does great with shots like the fugitive getting gunned down in front of the house about halfway through the movie which was probably stunning to see in the 40s and then beachhouse fight scene was shot really good in a blocking perspective.

Wanted to like this bad but nothing about these characters or their choices were interesting or even sensical

Wanted to like this bad but nothing about these characters or their choices were interesting or even sensical

Anthony Mann's Raw Deal is astounding for its cinematography, performances, and story. Imagine a rough-around-the-edges man like Joe Sullivan (Dennis O'Keefe) busting out of prison with the aid of Pat Cameron (Claire Trevor), a woman he's seeing but is uncommitted to, and Ann Martin (Marsha Hunt), who's fallen for him during his incarceration forced to help with his revenge plot. This creates a film that masterfully maintains tension throughout the running time. Each character's personality creates conflict as they seek leverage in each situation they stumble upon. Joe's character is full of tragedy, which is revealed as the narrative unravels. He’s a man who was framed for a crime he didn’t commit, and upon his release from prison, he’s targeted for assassination out of fear that he might inform the D.A. It's this story of a man trying to find a new lease on life while tying up loose ends from the previous one. Those loose ends arrive with Pat and mob boss Fantail (John Ireland). Pat is hopelessly vying for Joe's attention, and as the narrative unfolds, so does her conviction of the man she knew as Joe. Pat adds an entire layer of interest with Trevor's detailed and nuanced performance. In one sense, she's scary because of what she'd be willing to do to get what she wants, but in another, it's tragic because she's simply looking to be loved. In the third portion of this love triangle, Ann is the new opportunity that Joe sees with his prison escape. Ann herself wants to see the good in Joe and wants to believe that somewhere deep inside is the kid who saved people, looking for a reason to emerge from his seclusion. Her tale as the optimist forced to reconcile with her perception of Joe and who he actually is is handled with mastery at delivering this internal confrontation.

Raw Deal embraces the shadows of night and the violence in the wake of revenge, creating a memorable noir with palpable performances.

Anthony Mann's Raw Deal is astounding for its cinematography, performances, and story. Imagine a rough-around-the-edges man like Joe Sullivan (Dennis O'Keefe) busting out of prison with the aid of Pat Cameron (Claire Trevor), a woman he's seeing but is uncommitted to, and Ann Martin (Marsha Hunt), who's fallen for him during his incarceration forced to help with his revenge plot. This creates a film that masterfully maintains tension throughout the running time. Each character's personality creates conflict as they seek leverage in each situation they stumble upon. Joe's character is full of tragedy, which is revealed as the narrative unravels. He’s a man who was framed for a crime he didn’t commit, and upon his release from prison, he’s targeted for assassination out of fear that he might inform the D.A. It's this story of a man trying to find a new lease on life while tying up loose ends from the previous one. Those loose ends arrive with Pat and mob boss Fantail (John Ireland). Pat is hopelessly vying for Joe's attention, and as the narrative unfolds, so does her conviction of the man she knew as Joe. Pat adds an entire layer of interest with Trevor's detailed and nuanced performance. In one sense, she's scary because of what she'd be willing to do to get what she wants, but in another, it's tragic because she's simply looking to be loved. In the third portion of this love triangle, Ann is the new opportunity that Joe sees with his prison escape. Ann herself wants to see the good in Joe and wants to believe that somewhere deep inside is the kid who saved people, looking for a reason to emerge from his seclusion. Her tale as the optimist forced to reconcile with her perception of Joe and who he actually is is handled with mastery at delivering this internal confrontation.

Raw Deal embraces the shadows of night and the violence in the wake of revenge, creating a memorable noir with palpable performances.