He Ran All the Way (1951)- John Berry



My, what a difference a decade can make. Ten years after the release of Anatole Litvak’s “Out of the Fog” (1941), John Garfield teamed with director John Berry to make a very similar film noir, “He Ran All the Way” (1951).John Garfield and Shelley Winters in "He Ran All the Way" (1951) Garfield again plays a small time hood named Nick, who at the urging of his friend (Norman Lloyd), robs a businessman of $10,000. In a frantic moment while on the run and dodging bullets, Nick’s partner is shot, and Nick shoots a police officer.

While scrambling to gain control, Nick hides out at a pool where he meets a young bakery worker named Peg (Shelley Winters). He uses her as a cover, and offers to take her home, where he is introduced to her parents (Wallace Ford & Selena Royle) and her younger brother (Bobby Hyatt). Nick, in a state of paranoia, keeps the family hostage, while trying to figure out a plan. Peg, meanwhile, remains attracted to him, even once she understands his true nature.

The reason that I have compared “He Ran All the Way” to “Out of the Fog” (other than the fact that I just watched them both) is because when you examine them, they are actually veryJohn Garfield and Shelley Winters in "He Ran All the Way" (1951) similar.

  1. Both films are about a low-level hood (John Garfield both times)
  2. Both films have a sympathetic father character, being terrorized
  3. In each movie the daughter character continues to be attracted to the criminal, despite the fact that he is physically hurting her father
  4. Also, both movies happen to have the same magnificent cinematographer (James Wong Howe), which does give each of them a similar overall feel

So what makes “He Ran All the Way” such a better film? Well, the direction here, under the helm of John Berry, is far superior. He manages to capture the feel of a rotten criminal living in despair and anger with a reality that is hard to match. The locations and the claustrophobic feel of the city give off the feeling of a criminal trapped by the world around him. Also, the screenplay is believable, without being frustrating. (Written by Hugo Butler and Dalton Trumbo.) It’s easy to point to mistakes that characters make, but they are realistic mistakes made by people who are scared and worried.He Ran All the Way (1951) The Shelley Winters character, in particular, is a great role, filled with personal flaws that can be easy to question. Her motivations are kept quiet. She is obviously attracted in a sexual way to Nick, and is quick to come to home dolled up, ready to throw herself at him, even with her family members being held hostage in the next room. Her reasons for doing this, however, at not as clear. Is she trying to save the others, or is she ready to move on from her mundane existence and start a new life with Nick? Winters gives a remarkable performance in this movie, and although it isn’t as flashy or intense as Garfield’s, it has an element that will linger in your mind.

John Garfield, in what turned out to be his final film, gives a marvelous performance that shows how far he had come as an actor, and gives us a glimpse of how far he could have gone.John Garfield and Shelley Winters in "He Ran All the Way" (1951) There is an intensity and passion in his performance that is chilling and invigorating. He is a no-good, two-bit criminal, but somehow, we still feel sympathetic toward him. What we know about his past, including his awful relationship with his mother (Gladys George), enables us to have hope that, somehow, things will work out. This is one of the hardest types of characters to play, and yet, Garfield makes it look easy. It’s not necessarily his best, but it is definitely toward the top of the list.

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