أسير وحدي

I just saw this film two nights ago at the San Francisco Film Noir Festival. This was a beautiful movie filled with subtle shades of noir. The underrated Lizbeth Scott has the best performance in this rarely seen drama. There's great snappy dialog. Kirk Douglas is the perfect villain of this clever movie. It is so easy to see his son Michael's face on him. Burt was fun to watch as usual in giving his best to this intriguing screenplay. What was interesting to see unfold (in this almost 60 year old film) was how challenging the crime corporations are in pinpointing the vastness of what exactly they own. How they get around the skimming of the profits. As well as stating that they only "get" a minimal amount of the percentages ~ by the books. There was a lot of thought that went into this film and the three stars gave it their best. Pure quality.

Both Lancaster and Douglas, who co-starred in a number of films over the next two decades, were famous for tough exteriors hiding sensitive natures Lizabeth Scott, who appeared in films with one or the other, though never again with both together, was less versatile…Like Lauren Bacall and Ella Raines (other actresses in the Veronica Lake mold), her career revolved on the archetypal vamp foundations: a bone, a rag, a hank of hair, and a voice that sounded as if it had been buried somewhere deep and was trying to claw its way out The film's plot had ex-convict Lancaster seeking revenge on nightclub owner Douglas who had cheated him, while Miss Scott was a singer whose song 'Don't Call It Love' pretty well stated her case as one who felt misunderstood and left out… The physical similarities of the three made the roles interchangeable and the plot hard to follow – which perhaps is why it has become a classic of the film noir

Kirk Douglas was ready to break into his typical tough guy no-nonsense image in this gripping 1949 crime drama. He is ably matched by Burt Lancaster, his pal, who took the wrap for both of them and as a result served 14 years in prison. During those years prohibition ended and Lancaster returns thinking he'll have part of Douglas's lucrative lounge business with Lizabeth Scott, whose career suffered from the rumors that she was a lesbian. Lancaster didn't realize the intricate corporate set-up that Douglas had established to keep him out. Douglas resorted to thievery, viciousness and ultimate murder along with framing Lancaster for the murder of the quiet, soft-spoken bookkeeper, played very well by Wendell Corey. This is a wonderful crime drama film and your interest shall be sustained until the very end.

After waiting for years to see this fine film-noir, I finally did today. Two young hoodlums (Burt Lancaster and Kirk Douglas) are running illegal booze into another county during prohibition and get chased by the cops. The two separate after one of the cops is killed, and Douglas escapes, but Lancaster is caught and goes to jail. 14 years later, Lancaster is out and finds that Douglas has gone legit and is the owner of a major nightclub and doing quite well. Lancaster feels Douglas owes him something, and wants to become a full partner. Douglas then makes plans to eliminate him. Part of Douglas's plans include using his own mistress (Lizabeth Scott) to lead Lancaster on. A good thriller all around,predictable at times but very stylish, gritty and involving all the time. A "can't miss" for noir-fans.

Two thugs make good and then fight over a nightclub and Lizabeth Scott. I watched this for Lizabeth. She is even more stunning than usual but given little to do but grace glamorous evening gowns and lip synch. Its worth a watch but don't go in with high expectations because if the leads.

Frankie Madison (Burt Lancaster) gets out of prison after 14 years. He wants his half share from his former crime partner Noll "Dink" Turner (Kirk Douglas) who now owns a roaring nightclub. Dink sends his singer girlfriend Kay Lawrence (Lizabeth Scott) to talk to him. Whenever Lancaster and Douglas get together, the movie explodes in threatening energy. Both actors exude a violent menace. The movie has a nice noir style starting with the shadow of Frankie. The sense of brooding criminality is pervasive. I'm uncertain about Frankie being taken down by a corporate flow chart but it is something different. This is simply a good start of a great acting duo.