The camera focuses in on what is a homemade time bomb. A young unidentified man carries it to a car placing it inside the trunk. Unknowingly, an American with his bimbo girlfriend gets into the car and drives off. The camera pulls back; we are in a sleazy Mexican border town. The camera follows the car. Coming into the moving camera’s range is Vargas (Charlton Heston), a Mexican police officer and his newlywed American wife, Susie (Janet Leigh). They cross the street heading toward the American side of the border. We pass one bar and strip joint after another; the music, jazz, rock and roll, blaring out from each one. At the border, Vargas stops and talks with the border guards, the two Americans in their car pass through, the girl mumbling something about hearing a ticking sound, but no one pays her much attention. Moments later the car explodes into a fiery ball. With the strategic assistance of cinematographer Russell Metty, Welles frames this opening all in one astounding continuous long running brilliant shot. Continue reading
A young Spencer Tracy plays Dutch Miller, a highly arrogant, egotistical blow hard of a fisherman with the ability to lead men ever since he was a kid. He commemorates his marriage to the pretty cannery row beauty, Hattie (Jean Harlow) by quitting his job and encouraging his fellow fishermen to go out on strike. When the labor battle is lost, Dutch is tossed out as union President and with his oversized ego in hand, and no job, goes off leaving his wife and former friends to prove he can be a success. Later, Hattie learns the Dutchman is not doing well and is living in a hobo camp. She steals some money for him, but the ego driven Dutch refuses to accept her help or even see her. Hattie is soon caught for the thief and sent to prison. Pregnant with Dutch’s child on the way, Hattie escapes from prison. When Dutch learns about his child he has a sudden epiphany, coming to the realization being a good fisherman is good enough. He doesn’t have to conquer the world.
“Riffraff” is a paranoid piece of entertainment, written by Francis Marion, Anita Loos and H.W. Hanmann, based on a story by Marion. The film cannot make up its mind whether it wants to be a raucous waterfront comedy or a social drama dealing with issues of union labor, evil management and women behind bars. This is where the main problem with the film is, in the writing. Tracy’s character is not believable and his turn around at the end is just too quick and unconvincing. Continue reading