"What wonders the pungent nastiness of film noir could do to flavorless craftsmen. Future Sound of Music helmer Robert Wise terrorized a shrill snitch around a beachfront in 1947's Born to Kill, the same year Henry Hathaway sent a wheelchair-bound granny down a flight of stairs in Kiss of Death. Though the latter was overpraised for its location shooting and vivid brutality, Hathaway had already delved into the genre more interestingly the previous year with the less well-known The Dark Corner, made in between contributions to Fox's faddish interest in urban neorealism (The House on 92nd Street, 13 Rue Madeleine). Indeed, the first shot has the same self-conscious "documentary" look, with an elevated train rattling over a decidedly deglamorized New York City. As soon as the camera tilts down from the credits to locate mug William Bendix decked in an incongruously immaculate white suit, however, it's obvious that realism takes a back seat to the studio world of heavy shadows and gumshoe smoke, the better to show off cinematographer Joe MacDonald's ominous lighting grids projected onto the amoral characters. "