On Dangerous Ground 1951 123movies

Watch: On Dangerous Ground 1951 123movies, Full Movie Online – Hard, withdrawn city cop Jim Wilson roughs up one too many suspects and is sent upstate to help investigate the murder of a young girl in the winter countryside. There he meets Mary Malden, whom he finds attractive and independent. However, Mary’s brother is chief suspect in the killing. And Mary herself is blind..
Plot: A big-city cop is reassigned to the country after his superiors find him too angry to be an effective policeman. While on his temporary assignment he assists in a manhunt of a suspected murderer.
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Ratings:

	7.2/10 Votes: 7,257
	89% | RottenTomatoes
	78/100 | MetaCritic
	N/A Votes: 99 Popularity: 7.107 | TMDB

Reviews:

Appointment with danger
‘On Dangerous Ground’ sounded right up my street. The story sounded incredibly gripping, and have always been a fan of films with a film noir atmosphere. Love some of director Nicholas Ray’s other work, especially ‘In a Lonely Place’ and ‘Rebel Without a Cause’. Robert Ryan was a great talent as an actor, especially in ruthless and villainous roles (i.e. ‘Billy Budd’, ‘Crossfire’, he is bone-chilling in both), and when he was in a particularly great role he was brilliant.

Found ‘On Dangerous Ground’ to be a very good film that could have been a great one if it was a little more consistent all the way through. It is a very good representation of Ray, it is a great representation for composer Bernard Hermann who pens one of his best non-Hitchcock scores and it is a great representation for Ryan in a role that fits him perfectly. Have seen better from Ida Lupino though, from personal opinion of course.

Positives are numerous and they outweighs the negatives by quite some way. Just loved the stylish and quite eerie way it was photographed which couldn’t have been more perfect for the darkness of the story. The landscapes are just as striking and the photography is clearly in love with it without going into self-indulgence land. Hermann’s score is remarkable, it has a very haunting atmosphere enhanced by the truly ominous orchestration. As said, to me it’s among his best scores for a film that isn’t from Hitchcock. The script, especially in the first half, is thought probing and taut as needed for a film of this type.

The first half of ‘On Dangerous Ground’ is absolutely brilliant, taut, full of grit and edge and nail-bitingly suspenseful. The subject matter is a dark, grim one and the first half matched that perfectly. Ray’s direction is never less than assured and keeps the suspense going. Ward Bond is compelling in his role, but as far as the performances go the film belongs to Ryan, his intensity is absolutely riveting.

Didn’t however find the second half quite as strong. It is still good certainly, nicely paced, exceptionally well made, scored, directed and acted and is absorbing. It just lacks the hard-boiled edge of the first half.

If the romance was more developed, it was interesting enough but slightly bland, and gelled within the story a little better it would have been even better. Lupino has charm and pathos but could have done with more steel, like the romance she doesn’t quite fit within the rest of the film, but that is just personal taste.

All in all, very good. 8/10

Nicholas Ray’s Tense, Powerful Noir of Redemption…
“On Dangerous Ground”, Nicholas Ray’s short, yet powerful drama of one cop’s journey from destruction to redemption, took nearly two years to reach the screen upon completion, was panned by critics and ignored by audiences when released, and still generates discussion to this day (How much is actually Ray’s vision, and how much did Howard Hughes change it, prior to release?) Fortunately, time has given perspective to the film, and it is recognized, today, as one of the greater film noir classics of the era, and a showcase of it’s star, the unfairly underrated Robert Ryan.

The film, based on Gerald Butler’s “Mad with Much Heart”, of a British policeman finding renewal during a manhunt in the English countryside, was rewritten, by director Ray and screenwriter A.I. Bezzerides, into a three-movement ‘symphonic’ piece: big city cop (Ryan), sliding toward self-destruction as the corruption and filth he deals with, daily, destroys his soul (1st movement); exiled into the mountains to observe and aid in a manhunt, he meets a blind girl (Ida Lupino) with the purity and innocence he once had, and a local (Ward Bond), whose brutal single-mindedness mirrored the man he had become (2nd movement); and his metamorphosis, falling in love, attempting to save the girl’s brother instead of simply crushing him, and rediscovering in himself the ‘good’ man he had been, and could be, again (3rd movement). Contemporary audiences, expecting a straight-forward action tale, couldn’t understand this subtle character study (even co-star Ida Lupino called the script ‘weak’), but Ray, who loved stories of alienation and spiritual rebirth, particularly in an era when many of his peers were being ‘blacklisted’ in the Communist ‘witch-hunts’, refused to sacrifice the richness of characterization and structure, simply to make the tale more ‘commercial’. While Howard Hughes’ tinkering diluted the symphonic format, somewhat (adding a romantic climax, as Ryan and Lupino end the film in each other’s arms), he actually improved the film, clarifying the action, and ‘cleaning up’ a few ambiguous elements. This is one film where ‘too many cooks’ didn’t ruin the ‘recipe’! Of particular importance is the remarkable music score, by Bernard Herrmann. The brilliant composer was returning to Hollywood after conducting the CBS Symphony Orchestra for a few years, and he demanded, and got, an unprecedented amount of control on how his music would be used in the film. The end result was one of his best works, exciting, dramatic, and lushly romantic, and it would foreshadow his equally remarkable score for “North by Northwest”.

It would take over thirty years for “On Dangerous Ground” to be recognized as the classic it actually was, and, sadly, many of the principals would never live long enough to see the film receive the attention it deserved. Martin Scorsese called it one of the most influential films on his work (“Taxi Driver” incorporated many of the film’s visual and character elements, and would be scored by Bernard Herrmann, as well).

The film is, if not a masterpiece, among the handful of the ‘film noir’ genre of films that truly deserve to be called ‘Classic’!

Other Information:

Original Language en
Runtime 1 hr 22 min (82 min)
Budget 0
Revenue 0
Status Released
Rated Approved
Genre Drama, Film-Noir
Director Nicholas Ray, Ida Lupino
Writer A.I. Bezzerides, Nicholas Ray, Gerald Butler
Actors Ida Lupino, Robert Ryan, Ward Bond
Country United States
Awards N/A
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (RCA Sound System)
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length 2,245 m
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm