Raw Deal (1948)

Raw Deal (1948) is absolutely another standard Film Noir like Born to Kill (1947). However this particular Film Noir proved to be far more interesting than I could have anticipated. But, before I get into that I need to point out a bit of language used in the opening credits. The credits read that the movie was "suggested by a story by Arnold B. Armstrong and Audrey Ashley". Can we use that language more often? It seems most movie adaptations of books, real events, and other works are more "suggested by" than "based on". That language would really apply to the crappy Percy Jackson movies; certainly movies "suggested by" Riordan's work and not based on.

Anyway I've not read the work that Raw Deal was based upon so this post isn't going to be about Raw Deal as an adaptation, but rather Raw Deal as a Film Noir. The movie does really break tradition from frame one with a voice over not by a grizzled hardened detective or war vet, but rather a cool, controlled, seductive female voice. Any Film Noir has my curiosity, but this one just earned my attention. Typically films of this type have a narrative voice over by the male lead murmuring poetically of crazy dames, foreboding hunches and a looming sense of doom, Raw Deal gives us the perspective of the "crazy dame". Our protagonist for the film is Pat Regan a woman in love with the wrongfully jailed Joe Sullivan who is working with Rick Coyle a criminal who got Joe to agree to taking the fall to the tune of 50 Gs (50,000). But competing for Joe's attentions is his legal caseworker Ann Martin. What follows is a prison escape and the three of them on the run from both the law and Rick himself as he intended Joe to be murdered in the escape attempt.

I've tagged a few of my previous posts (Gone with the Wind and Born to Kill) "Awful people doing awful things" But what is most remarkable about Raw Deal is that it doesn't deserve this designation. Typically all noir films are awful people doing awful things, and while Raw Deal does feature criminals kidnapping a legal caseworker escaping the law and other criminals it also features a love triangle where all the characters are looking out for each other above themselves. This is really a quite refreshing look at the typical film noir characters. Both Ann and Pat love Joe, and while Joe does love Pat its made clear that he loves Ann more and further Ann pushes Joe to be a more caring law abiding citizen. The way I would expect this to go is that Joe would relentlessly persue Ann forcing her down to the criminal level and Pat winds up killing Ann and it all ends in tragedy. However what actually happens is Joe lets Ann go precisely because he doesn't want to bring her down into a life of crime. Near the end of the film Pat gets a call from Rick saying that he's got Ann and will maim her if Joe doesn't give himself up. I expected Pat to ignore the call as she and Joe are about to head off on a boat to South America successfully getting away from the American authorities. But while Joe was fantasizing about an idealized married life he and Pat could have together in South America she realizes that Joe would not actually be happy with her but rather Ann instead so she tells Joe about the danger Ann is in. Joe of course rushes off to save her and gets himself killed in the process. Both Ann and Pat are left alive with Pat's voice over consoling herself by saying "In my heart I know that this is right for Joe. This is what he wanted."

I mean wow. I don't think I've ever seen a Noir where the femme fatale is not only the protagonist but also has the most agency in the plot. This would almost be a quintessential feminist work of the era if it weren't for the fact that Pat only exists to make Joe happy at the expense of herself. The male figure of Joe is made almost exotic as we are never made quite fully aware of his internal thoughts and intentions much in the same way the femme fatale is typically treated in traditional Film Noir. This partial gender role inversion in the context of the function the genders typically serve in the narrative is certainly a breath of fresh air for Film Noir and very pleasant to see.

Raw Deal also has merit outside of its treatment of its lead female character. It is incredibly well shot with a very well choreographed fight scene lent some considerable realism by being framed from a voyeuristic perspective peaking through and around foreground elements. Also an absolutely AMAZING close up near the beginning of the film showcases a perfectly executed optical trick to capture a stunning glint in the eyes of the subject:

Also some of the shots are deeply affecting and incredibly well planned a stand out being this shot as Pat is deciding whether or not to tell Joe about the danger Ann is in:

The clock is ticking closer and closer to Ann's probable death and Pat must decide to sacrifice her own chance at happiness with Joe or do whats better for Ann and Joe and reveal the danger Ann is in. This is one of those shots that sticks with you long after the movie ends.

The dialogue too is exemplary in the field of they typical Noir "crackin foxy" (a very film noir term for speaking in a witty tricky manner). Some of my choice lines are:

 Joe Sullivan: "Keep your eye on "Miss Law and Order" here. She might go soprano on us."

Joe Sullivan: "Ah, you bet. You bet I will. As they say, life begins with 50 G's."

Joe Sullivan: I want to breathe. That's why I want out of this place... so I can take a deep breath again.

There's also some good bits of narration from Pat sprinkled throughout the film enhanced by an absolutely haunting score.

Overall Raw Deal is an exemplary Noir Film that breaks from the traditional mold while still providing the same feeling and narrative structure. This gets a strong recommendation from me. Thursday's topic is another one of my absolute favorite films and is from another of my favorite film genres, the movie musical,: An American in Paris.