The Narrow Margin (1952) - Richard Fleischer 

In the annals of B-pictures Edgar G. Ulmer's Detour gets frequent mention as the best of the worst. An equally voiceable camp would label Richard Fleischer's Narrow Margin with that distinction. Of the two films there is hardly any comparison, Fleischer's film blows Detour out of the water and then some. Instantly classic, full of great characters, tough dames, a lot of deception, and that intricately woven plot were even the most minor supporting players play into the big picture. Nothing is out of place here, and its the type of clever noir that maxes out its 72 minute running time. 

Watching three noir films this past week, I found myself unable to properly write reviews of Brute Force and Raw Deal. Dassin's film is more prison melodrama than noir, and Mann's picture is another delicious noir, but the characters in it are weak. Connections are made, and chemistry is explained in the plot without ever really being believable. In The Narrow Margin everyone is played to perfection, and none more than Charles McGraw. A gravel voiced hard nosed actor that shines the way Tom Neal could only dream about in Detour. His presence is so strong, and his voice so memorable that I could listen to him deliver any line of dialogue and I'm on his side. Like the thug of Mike Hammer, he also doesn't have any particular scruples about police brutality. The noir's of the 50's feature harder edged protaganists, and although they might be on the side of the good, they are more than capable of borrowing a page from the crooks playbook.

When he is offered a bribe for the life of his passenger, you genuinely believe he's tempted. After all, that is a lot of money, and besides Marie Windsor isn't exactly the most pleasant companion. As he explains to another passenger though he is human, and sure that type of money is tempting, but as he says there isn't a price high enough to metaphorically sell your soul. He also has a grudge of his own, as the film begins with the murder of his long term partner. Of course this revenge motif helps to keep him honest, but it also borrows a page from the Western convention of opening with a bang. Get the audience pulled in early, and they'll stay with you. With this films miniscule running time, it isn't hard to stay with it. I have discovered my textbook use of noir technique in the early murder. Pearl's drop, and land at the feet of an assassin, with his whole face covered in shadow, and with just his gun visible in the light. Then the shooting takes place on the stairs with an extreme wide angle lense, everything about the genre's aesthetic principles is right there. This is definitely one of the best.

Grade A