Incannerax What a waste of my time!!!

Contentar Best movie of this year hands down!

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

clanciai An interesting story with a convulsive finale: Frank Johnson, who walking his dog unvoluntarily becomes the witness of a murder, doesn't want anything to do with the police, so he is the real one on the run. As he absconds, the police set on his wife instead, who cannot help them, as she actually knows nothing about her husband: a curious marriage, one might say. He is even reluctant to admitting she is his wife, and when asked if he is married, he answers only vaguely, like "sort of". Thus Ann Sheridan becomes the lead and completely domintes the film, as she also is hounded by the police for being married to an escaped eyewitness, but she shakes them all off, except one reporter, who never lets her alone. His shadowing her ends up in a situation that must be described as the worst possiblke you could ever find yourself in alive and with no way out. The film is worth seeing only for this very dramatic finale, which you will never forget. It's actually a B-film, but the finale lifts it up many categories.

seymourblack-1 This low-budget gem is well-written, well-directed and full of surprises. Its story about a murder witness who goes on the run and then gets pursued by the police, his estranged wife and the killer is exciting, tense and sometimes humorous. The action's delivered at an exhilarating pace that's perfectly complemented by some sparkling dialogue that ranges from fast-talking wittiness to scathing sarcasm and there's also a few neat plot twists to enjoy.Frank Johnson (Ross Elliott) is walking his dog one night at the entrance to a San Francisco park when he witnesses a gangland killing and gets shot at by the murderer. He escapes injury and when the police arrive on the scene, is informed by Inspector Martin Ferris (Robert Keith) that the victim was due to be a witness at an upcoming mob-related trial. After Frank admits that he could identify the killer if necessary, Inspector Ferris decides to take him into custody for his own protection. Horrified at this suggestion and nervous about the obvious danger he's in, Frank immediately disappears and goes on the run.Inspector Ferris turns to Frank's wife Eleanor (Ann Sheridan) for assistance but she's totally unconcerned about her husband and isn't inclined to provide any help, so the Inspector simply decides to put a tail on her. Later, when Eleanor learns that her husband has a heart condition and needs his medication to avoid a potentially fatal attack, she decides to track him down and is helped in doing this by newspaper reporter Danny Leggett (Dennis O'Keefe) who offers to pay the couple handsomely for an exclusive interview with Frank. Danny's friendly, charming and just as accomplished as Eleanor when it comes to exchanging witty repartee.Eleanor and Danny mostly manage to keep a few steps ahead of the police during their search and Eleanor gains an insight into some aspects of Frank's life that she wasn't aware of before. After receiving a letter from her husband in which he provides her with a mystifying clue to his whereabouts, Eleanor, together with Danny eventually goes to a beach-side amusement park where their search reaches its very eventful and violent conclusion.One of the pleasures of watching this movie is enjoying the ways in which the plot neatly avoids taking the course that seems most obvious from the set-up. For example, manhunt movies are normally seen from the point-of-view of either the police or the person being pursued. This movie avoids both options. Similarly, the romantic dimension of the story doesn't develop in the expected way and there's a superb twist, part of the way through which increases the tension brilliantly.There are also a number of minor incidents which provide amusing surprises such as the sequence during which Eleanor decides to escape from her apartment by the skylight and is helped out by Danny who then goes on to help her cross from the top of her own building to the adjoining one using a plank. After completing this tricky manoeuvre, her action in simply removing the plank before Danny can also cross is both bizarre and funny.Ann Sheridan's great ability to deliver cutting remarks is fully exploited in this movie but she also shows considerable subtlety in the way that she portrays the transition that her character makes from being an unpleasant woman who's become embittered by the apparent failure of her marriage. Dennis O'Keefe and Robert Keith are also good in their supporting roles.Scenes shot on location in San Francisco are used extensively and together with the film's exceptional cinematography do so much to give "Woman On The Run" its tremendous vibrancy, atmosphere and sense of place.

kapelusznik18 ***SPOILERS*** While walking his dog Rembrandt one evening out of work artist Frank Johnson,Ross Elliott,witness the gangland murder of star witness for the prosecution Joe Gordon, Tom Dillon, who's to testify against the mob the very next day. With Gordon's killer mistakenly taking a number of pot shots at Johnson's shadow who in the dark thinks is Johnson in the flesh he now has to knock the fleeing Johnson off to keep him from identifying against him as Gordon's murderer! It's Johnson's wife Eleanor, Ann Sheridan, who's at first very uncooperative with the police in finding her husband would be killer in her feeling, in Eleanor almost being estranged from him, that he had it coming. But still she feels he should be found since he has a serious heart condition and could drop dead at any given moment if he doesn't get his heart medication that he left, and can't get without a doctor's prescription, in the couples apartment.Elenore or better yet her on the lamb husband Frank gets a lifeline in reporter Dan Leggett, Dennis O'Keefe, taking a personal interest-as well as promising to pay Elenore $1,000.00- for an exclusive story about her husband's plight in running from the mob. Searching out all the dives and flop house as well as waterfront gin-mills in the San Francisco area that Frank may have visited it's discovered that he was seen at Sammy's, played by former Charlie Chan #2 son Victor Sen Yung, dance studios checking out and sketching the young girls in their skimpy outfits doing their dance routines! One of those girls who knew more, about Gordon's killer, then she was willing to admit to the police Suzie,Rako Soto, ended up killed thrown from a 4th floor window before she could, from a drawing of him that she made, identify him.****SPOILERS*** Not quite the smart cookie as we all watching the movie thought she was Eleanor totally misread reporter Leggett's real intentions in trying to find her husband Frank. And it had nothing to do in saving his life from the mob in that he's in fact no reporter at all! He's the mob hit-man who did in Joe Gordon and now is determined to whack Frank Johnson to keep he from identifying him to the SFPD as well as FBI! If Elenore had no idea, until it was almost too late, to just who this kind teddy bear like and understanding reporter Dan Leggett was police inspector Ferris, Robert Keith, who checked the big phony out did! And by getting to Johnson just minutes before "Danny Boy" Leggett tried to induce, by strangling him, Johnson to suffer a fatal heart-attack he, with a blast from his .38, prevented him from doing it!

chaos-rampant I'm drawn to and admire film noir more than any other genre. Other types will show the lesson or the rush, noir uncovers the cosmic significance. It does so in the flow of life, it encounters rather than constructs its metaphor. It posits a metaphysical darkness that doesn't need ghosts, it finds that intuitive ghostlike agency in the traffic of the world.Here's a great example. Superficially it is about a woman who wanders San Francisco looking for her husband who's gone into hiding because he saw the wrong thing and a man will be looking for him late in the night. There's a lot of snooping and following around in shadowy streetsMore deeply it's about the rift between lovers, wondering about the husband's urge to disappear; we find this early as the woman shows his paintings to a policeman, memories of a life together now gathering dust in some attic. It's about having lost him and looking for him, about having doubts that maybe he wants to stay lost, being unsure herself.It's all in the film itself. What sent him into 'hiding' and creates the distance and searching was something that came from the night itself, rendered here as witnessing the wrong thing and assuming its narrative. The newspaperman who helps her find him 'for the story'. Her long walks through San Francisco as memories come to her, possibly places they've walked together—a certain sequence is like out of Resnais, place as memory.You might know the guy who made this, Norman Foster, from co-directing Journey into Fear with Welles back when Welles was working by day on Ambersons on another RKO set and preparing for his Brazilian adventure. No doubt he studied the master at work and picked up on a few things.You'll see this in the marvelous finish in a funhouse that recalls Welles' Shanghai; the camera doesn't dance the way only he could do but the cinematic air does, carrying depending on where we stand sweet jazz, marquee lights or the manic laughter from rollercoasters rending the air.It is this rift in her that's setting forth narrative ghosts in the machine that wander to repair it, that know more than she does at any point, creating cop story and characters and jazz air of intuitive discovery; all so she can find this ahead of her.The final shot is of a grotesque mechanical puppet which was the real source of the cackling heard over the carnival grounds, the ghost in the machine.Noir Meter: 3/4