Gun Crazy

1950

Action / Crime / Drama / Film-Noir / Romance / Thriller

59
Rotten Tomatoes Critics - Certified Fresh 97%
Rotten Tomatoes Audience - Upright 84%
IMDb Rating 7.7 10 9388

Synopsis


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April 16, 2014 at 03:03 AM

Cast

Russ Tamblyn as Bart Tare
Ray Teal as California Border Inspector
Ross Elliott as Detective
John Dall as Barton Tare
720p.BLU 1080p.BLU
697.57 MB
1280*720
English
NR
23.976 fps
1hr 27 min
P/S 2 / 3
1.23 GB
1920*1080
English
NR
23.976 fps
1hr 27 min
P/S 1 / 8

Movie Reviews

Reviewed by happytrigger-64-390517 10 / 10

exceptional story, casting and cinematography : an Ultimate Noir

I discovered Gun Crazy around 1985, I was twenty and was fan of film noirs, having seen all the classics in the Action theaters in Paris. And then appears that incredible Gun Crazy. At that time, I studied Cinema in university, having a B movie section, and Gun Crazy was the main movie studied.

Gun Crazy is well remembered for being a Bonnie and Clyde story with the hold-up shot in long take. In fact, there are a lot of sequences brilliantly shot, especially another hold-up or the kid shooting sequence. The director Joseph H. Lewis was a master in shooting sequences in long takes placing the camera at the heart of the action, see the virtuoso intro in "The Undercover Man". But he never achieved any more masterpieces than "Gun Crazy" and "The Big Combo". Too bad. The rebel lovers are played by Peggy Cummins and John Dall, their meeting is unforgettable : as J. H. Lewis says in an interview, "you are like dogs in heat".

The french DVD box of Gun Crazy is outstanding, with the book written by Eddie Muller, telling the origins and the shooting of that cult movie with lot of rare pictures and documents. And explaining the difference of the titles "Gun Crazy" and "Deadly is the Female", as well as on the posters, the "Gun Crazy" poster being more wild than the "Deadly is the Female" too classic.

I saw the movie "Persons In Hiding" with a story close to Bonnie and Clyde. Patricia Morison is terrific as a strong, nasty and sexy woman like Peggy Cummins in "Gun Crazy". Hold-up scenes are shot and edited in the same style than later in "Gun Crazy" (but there isn't the long take hold up). And we hear twice the expression "gun crazy". That movie is from 1939, the novel "Gun Crazy" was written in 1940.

For me, "Gun Crazy", with its special characters played by inspired casting and shot masterfully by Joseph H. Lewis, is one of the very best in Film Noir. Far more better than many other cult classics.

Reviewed by adrian-43767 7 / 10

Crazy Bonnie & Clyde update

The infamous Bonnie and Clyde pair of the Depression years is updated in this film of 1950, but with the femme fatale as a supposedly British woman from London (actually, Peggy Cummins was born in Wales), possibly because no US female could be half as bad (the real Bonnie was, though) and no self-respecting US actress would soil her image by taking on such a depraved role.

As it turns out, Cummins does indeed look crazy throughout the film, killing as a matter of course, and even thinking of kidnapping her own baby nephew. Her eyes reflect a demented state throughout.

In contrast, John Dall plays the part of the wholesome American boy who just loves guns, and even cries when he shoots a baby chicken dead with his BB gun. He does not want to kill anybody but he loves to steal guns, and he falls in love at first sight of that crazy British woman, so he can't help but rob places, and then feel terrible about stealing just not to have to work for a living. Curiously, the one thing that works is that these two misfits really love each other, and cannot be apart, even when it would be wiser to split for a while and reunite somewhere else.

Inconsistencies of character undermine what could potentially be a very good film noir, but photography, some wonderful car chases, and assured direction make GUN CRAZY well worth watching.

Reviewed by MisterWhiplash 10 / 10

"Bart, I've been kicked around all my life, and from now on, I'm gonna start kicking back."

At the time, such an idea of having the heroes being the criminals was un-heard of, but Joseph H. Lewis's film deservedly has its claim of being the little B-movie that could (forgive the mechanical analogy) by inspiring the French new-wave and other films like Bonnie & Clyde. The idea of having a tragic love story pitted in the middle of noir facade was also seen in the equally powerful low-budget They Live by Night. But while Nicholas Ray's film is more impressive on its emotional stakes, Gun Crazy rakes up points for some of its technical achievements. The style implemented by Lewis and DP Russel Harlan (also responsible for the great photography in Red River) adds excitement to the more suspenseful, even violent scenes, and adds some sentiment to the softer ones involving the couple. And I love the scenes where young Bart can't seem to put away his fascination with guns.

Bart (John Dall) starts off as a boy, and in some of these early scenes (some of the best in the film), we see how he is changed by an unfortunate act, and then the story skips ahead suddenly. Now Bart is an adult, out of the army, and gets re-introduced to guns once he meets his soon-to-be love and partner in crime, Annie, played by Peggy Cummins. From there, after getting married and needing (or rather wanting) money, they start robbing banks across country, but soon to meet their demise. But more than anything, the film's focus isn't one where 'crime doesn't pay' or some kind of typical, of-the-period nonsense. Like the Asphalt Jungle, we're given these conflicted, emotional beings who may meet their own ends with each other before the law. And in the film-noir tradition, it's the woman here who will act as a main catalyst for the end of them. It's psychological side of danger, pathological lies, and the pattern of a downward spiral in having to commit violent acts (even un-intentionally), becomes what really pulls in the viewer into the picture, aside from the more loose, on-location 'real' style and interesting camera-work.

Under more 'B-movie' conditions, Lewis sneaks in plenty of chances to look past some of the more cardboard cut-out forms the characters could have been. The acting by the leads is also very good, the script mostly by Dalton Trumbo is one of his best, and both understand how one reflects the other. Cummins is perfect in her part, even if Dall isn't quite as much a stand-out (though, of course, he's the sap to her more wicked side). Also out of the script comes cool lines like the one listed in the summary. It's a notch above many other B-noirs of the period, and should be seen by most serious fans of the 'mood' that came in noir films. A bit cynical, fatalistic to be sure, but it's smart too.

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