The killer is free

Quiet and polite, wearing thick lenses, Leon Foggy Poole ( Wendell Corey ) works as a bank clerk in a dormitory in Los Angeles . One day, Otto Flanders ( John Larch ), a former sergeant of the unit in which Poole served as a corporal, is in line for his appointment. Attracting the attention of customers, Flanders tells the whole line that in the army everyone was abused by Poole because of his poor eyesight, clumsiness and inability to stand up for himself. Pula this conversation is extremely annoying, but he is restrained. At that moment, the secretary of the bank approaches Pula and says that strangers came through the front door and were going to open a bank safe in the back of the room. The pool turns and sees the bank manager enter the room. The bandits grab him and force him to open the safe. Having taken the money, they, threatening with weapons, go to the exit of the bank. The pool rushes towards them, but gets hit by the pistol grip on the head and loses consciousness.

At the police station, Detective Sam Wagner ( Joseph Cotten ) and his partner Chris Gillespie ( Mike Pat ) interrogate Flanders, who expresses admiration for the courage of Poole. During a conversation with the manager, it turns out that the criminals possessed internal information about the bank’s affairs - they committed a robbery on the day when the maximum revenue arrives, they knew the names of employees and where the police call button is located. Soon, while listening to telephone conversations, bank employees Wagner and Gillespie found that Poole, judging by the nature of the conversation, was one of the participants in the robbery. He asked him not to call, but when he heard a click in the receiver — another detective detective unsuccessfully connected his headphones, Sergeant Denny Denning ( Alan Hale, Jr. ) - immediately hung up.

Having traced the call, the detectives immediately go to Poole's home. However, upon arrival, they see that Poole turned off the light in the apartment and barricaded himself inside. The police first ring the doorbell and then try to knock it out. In response, Poole fires a shot through the door, easily injuring Gillespie in the arm. Wagner shoots the door from his side, scaring off Poole, after which the cops manage to get the door out. Wagner jumps into the room and shoots in the darkness at a figure running out of another room, not knowing that there is anyone else in the room. The police turn on the light and see the limp Pool with a gun in his hand, and next to him is a murdered woman, his wife. He takes her in his arms, hugs her, gently talks to her and puts her on the bed, and then accuses Wagner of her murder, saying that she did not know anything about the robbery.

At the Poole trial, they are sentenced to three ten-year prison sentences - for robbing a bank, resisting arrest, and attempted murder. When he is taken out of the hall, he defiantly looks at Wagner’s wife Laila ( Ronda Fleming ) and swears revenge.

After two and a half years of exemplary behavior, the warden transfers Pula to a prison farm to work on the field. Some time later, one of the security guards, who considers Pula an exemplary prisoner, takes him with him to a truck that carries boxes of cabbage to help him unload them. Upon learning of this, Poole imperceptibly breaks his hoe with his foot and hides her shoulder pad under his shirt. On the way through deserted fields, Poole kills the guard by hitting him with the sharp end of the shoulder protector in the neck, and then dumps the body into the nearest ditch. Pool pulls up to the nearest farmhouse, where he picks up a sickle in the yard, and then knocks on the door.

Early in the morning, a phone rings in Wagner’s apartment and he quickly starts to get ready for work. An alarmed pregnant Laila gets up with him to make breakfast, and quickly finds out that her husband was raised because Poole escaped from the prison farm, who threatened to deal with Wagner. From the conversation of the spouses it turns out that, at the request of his wife, Wagner left the operational work, and now Layla asks him not to get into this business, allowing catching criminals to those who are assigned according to the post. Laila is even more worried when logged-in operatives report that Poole killed the truck driver.

At the police station, Gillespie introduces Wagner into the course of the operation to capture Poole, who, according to the police, chose Wagner as his target. The police know that Poole attacked the store, from where he took the weapon. Police posted checkpoints everywhere, cordoning off the area where Pula might be located. However, Poole picked up a farmer's truck loaded with vegetables, changed into his clothes and easily crossed the roadblock with his documents. Only after this, the police find the farmer’s corpse, and finds out that Poole used his documents. Police establish a second line of roadblocks to detain him. Meanwhile, the police chief tells Wagner that they received information from the person with whom Poole was serving a sentence in the same cell. According to him, Poole constantly repeated that he did not understand why, if Wagner had killed his wife, Wagner's wife should be alive. And that he will certainly run away and kill Laila. Meanwhile, the police discovers Pula's farm truck and realizes that he has already broken into the city. The police understand that Poole has no money, and he is most likely exhausted and hungry. He needs to hide somewhere, nothing but friends or relatives, however, according to police, he has no one. Knowing now that Poole is hunting not for him, but for Laila, Wagner offers to bring the criminal to his house, and the police to ambush them. When Poole believes that Laila is in the house and is about to attack, the police will seize him. In fact, in order to take his wife out of a possible blow, Wagner must take her out in advance and hide in a safe place.

In order to cover up farm clothes and not stand out in the town, Poole buys a coat and hat at the last-money store. The police, meanwhile, set up ambushes around the entire perimeter of Wagner’s house, and at home he was met by an angry Laila, wondering why she had two cops sitting all day, not letting her go outside to the store. To reassure his wife, Wagner says that they are immediately going on vacation, as it is better not to take risks and leave the house temporarily. While Laila is packing, Danning recalls that one of the witnesses to the robbery, Flanders, knew Poole and could possibly help find him.

Meanwhile, Poole finds Flanders' house, whose wife opens the door for him, saying that her husband is not at home. Poole goes inside, claiming that he is her husband’s army comrade. When Poole takes off his coat and mentions television and newspapers, Mrs. Flanders realizes that he is the same criminal who is being sought and is trying to escape, but Poole stops her and asks only to feed her.

Wagner takes his wife to the sea, reporting on the way that they first need to call on Gillespie. Laila realizes that this is only a trick on his part, and realizes that Poole is already in the city. Leaving Laila and the suitcases with Gillespie, Wagner entrusts Mary, the wife of Gillespie, with further cares for Laila. However, talking with her husband before his departure, Laila quickly realizes that he took her out, because he will return to their house and will serve as a bait for Poole. “All this is very noble, but I don’t like it. Let's go to the sea and sit there until it's over, ”Laila says, suggesting that someone else risk their lives instead of her husband, which outrages Wagner. Laila says that for four years every day she was afraid for his life, and will not bear it anymore. In the end, she declares - "either we immediately leave for the sea, or our relationship is over." And without convincing his wife, Wagner leaves.

Poole watches on television how the police cordon of Wagner’s house takes place. At that moment Flanders returns and, pointing his weapon at him, Poole recalls how he mocked him in the army, how other children mocked him as a child, and only his wife never laughed at him and provided him with the feeling that he was a worthy person in everything. And so he loved her more than life. Flanders tries to persuade Poole to stop, as he has no chance in fighting the police, and at that moment the offender suddenly shoots him point-blank. Then he picks up the coat and handbag of Flanders' wife and leaves, leaving the wife herself in a state of shock.

At Gillespie’s house, Laila collects her things and prepares to leave, telling Mary that she and Wagner are all over. Then Mary decides to reveal her secret - Wagner went back to the house to be a bait instead of her, Laila. The pool preys on her. Mary accuses Laila of the fact that her husband was forced to constantly lie and get out just to keep her calm, and she always demanded something special from him, as if she was different from the wives of other cops.

The police conduct detailed and careful surveillance of everyone who passes near the Wagner house. Soon the police find out that Poole was at Flanders' house and killed him.

Layla runs away from Gillespie's house and gets on the bus. The police learn about the disappearance of Laila and informs Wagner about this, who uses the walkie-talkie to direct the operation from his own home. Finally, the police notice how a car with a woman behind the wheel turns into Wagner Street. Wagner urgently asks for a description and location of the Flanders machine. Poole stops the car a few blocks from Wagner’s house and walks out into the street in a woman’s coat with a hood on her head and a handbag in her hand. At the same time, Layla gets off the bus at a stop near the house. Police officers see a woman in a woman’s dress walking down the street, and then suddenly disappear from sight in the vicinity of Wagner’s house. Wagner decides that it could be one of his neighbors, in fact this is Poole, who hid behind a tall bush. Then Laila goes down the same street. Wagner runs to the window and watches his wife walk. Laila passes by the hidden Pool, who in the darkness can not accurately identify her, but follows her. Wagner realizes that his wife is followed by Poole in women's clothing, but she is afraid to give a signal to shoot, as she is not sure about that. Finally, the police are convinced that this is Poole, when one of his trousers is slipping out from under his coat, and he sits down to hide it. However, at this point, Poole and Layla are so close that the sniper in the dark is not sure that he will not miss. All Wagner's hope remains that Laila will guess who is following her and will walk past her door, and then Poole will decide that it is not she who will not shoot. Layla passes by and quickly jumps over the neighboring fence, after which the police immediately open fire on the criminal. Police surround the body of the murdered Poole, and Wagner hugs his wife and takes her into the house.

The best films directed by Badd Bettiker usually include a series of Westerns with actor Randolph Scott , including the films “The Seven Must Die ” (1956), “ Great Fear ” (1957), “ Clash in Sandown ” (1957), “The Lone Horseman Buchanan ” (1958 ), “The Lone Horseman ” (1959) and “ Comanche Parking ” (1960) ^[3] . As movie historian Brian Cady writes, “the name of cult director Budd Betticer is usually associated with the seven westerns that he staged with Randolph Scott. Just before these classic adventures in the old West, Bettiker set the grim history of justice and revenge in the modern West - “Killer on the loose”. And if, right after this film, Bettiker did not go on to shoot Randolph Scott in the saddle, he could make a name for himself by creating thrillers like this ” ^[2] .

Joseph Cotten starred in such prominent films as Citizen Kane (1941) and The Magnificent Ambersons (1942) by Orson Welles , as well as in Noir Shadow of Doubt (1943) Hitchcock , Gas Light (1944) Cucor and The Third Man (1949) by Carol Reed ^[4] . Wendell Corey played, as a rule, significant supporting roles, in particular in the post-war drama “ Search ” (1948), films noir “ Desert Fury ” (1947), “ Sorry, Wrong Number ” (1948), “ I'm Always Alone ” (1948), “ The Accused ” (1949) and “ Thelma Jordon 's Case ” (1950, the main male role), the detective thriller “ Window to the Courtyard ” (1954) and the melodrama “ Seller of the Rain ” (1956) ^[5] . Ronda Fleming played in such noir films as “ Bewitched ” (1945), “ Scream of Danger ” (1951), “ Inferno ” (1953), “ While the City Sleeps ” (1956), “ Shade of Scarlet ” (1956) and Western " Shootout in OK Corral "(1957) ^[6] .

Overall rating of the film

Immediately after the release of the picture on screen, film critic Bosley Crowther gave him a rather unflattering assessment in the New York Times , calling it a “third-rate crime film”, which “hit a couple of first-class actors - Joseph Cotten and Wendell Corey, ” but even despite their presence the film "completely boring" ^[7] . He further writes: “Do not look for something original or exciting in this hide and seek game. The screenwriter Harold Medford wrote it with a set of stamps, and Budd Bettiker probably did not think of anything other than the end of the working day when he made the film ” ^[7] .

Modern critics evaluate the picture more positively. TimeOut magazine called it “a low-budget fast-made film that energetically moves its course with skill and speed, albeit without much credibility” ^[8] . Cady called the picture “a fast-made Category B movie with a second-rate plot,” in which “Bettiker and the actors introduce enough unexpected moves to make it interesting” ^[2] . Bruce Eder notes that “the narrative power of Bettiker's direction, coupled with several excellent acting, overcomes the flaws of the script, which is slightly overloaded with coincidences to look believable” ^[9] . The critic explains that “Bettiker's ability to create suspense using camera movements or editing” makes the “film better than the story”, which is its foundation, “and makes it easy to suppress its unconvincing” ^[9] .

Film critic Dennis Schwartz called the picture “a typical 1950s noir, a fast paced and dense script that examines mainly the personality of the villain who crossed the line when he could no longer tolerate ridicule against himself” ^[10] . Schwarz goes on to say: “The atmosphere of the residential quarters and the strict style of storytelling reinforce its banality, and it fails to draw anything out of the routine to build up suspense, which comes only at the climax.” But in the end, “it turns out to be a very solid film that can be watched from the feeling of nostalgia for the 1950s” ^[10] .

Evaluation of the work of the director and creative team

Eder considers Bettiker "the director of excellence and many surprises, which anyone who has watched his best Westerns can confirm." And this film, which although it was made "in a completely different genre, and in a style that is very far from his most familiar works," "only strengthens his reputation" ^[9] . Cady claims that “Bettiker, together with the actors, manages to give the film a frankly unconventional approach that culminates in a scene where Poole disguises as a woman in order to achieve his goal” ^[2] .

Betiker, according to Eder, “uses traditional - albeit high-class - Hollywood professionals as actors, taking them out of the studio and putting them almost completely into a drama in kind, and gives them the freedom to express themselves in these natural scenery” ^[9] . Cady continues, “Bettiker uses on-site filming to convey a disturbing effect on the viewer. The brightly lit ordinary street of Southern California becomes a robbery, the typical kitchen from the suburbs of Southern California of the 1950s becomes a scene of horror and murder, and the residential area becomes a tense observation post with hidden policemen watching pedestrians with signs of murderous intentions ” ^[2] .

Critics praised the camera work of Lucien Ballard . Cady notes that Ballard, "who later that year will shoot Stanley Kubrick's film" Murder "(1956), made a great contribution to the formation of the visual series and the mood of this tape" ^[2] . Eder adds that the operator “provides an attractive hyper-realistic picture, enhanced by shooting in real nature wherever possible” ^[9] .

Actor rating

Eder writes that in the film “there are a lot of acting roles that are as exciting as the plot is full of incredibility” ^[9] . According to the critic, “ Wendell Corey gives the most amazing game of his career, it is almost impossible to recognize him as a miserable or terrifying Leon Pool, a bank clerk and a psychopathic killer who takes the path of revenge on the detective who killed his wife” ^[9] . Cady also believes that “Wendell Corey gives here perhaps his best career game in the role of Leon Poole killer. Mocked during the war for his thick glasses, Poole is a complete rag, a type of person who is usually the victim of a crime, not a criminal. Corey plays Pula constantly frightened, and speaks in a low voice even when threatening someone with death. This is walking on a tightrope, where the audience either sympathizes with him or rejects his ugly logic and disgusting actions ” ^[2] .

On the other hand, according to Eder, “ Joseph Cotten is less successful in his role as a policeman who is pulled in opposite directions by his wife’s love and dedication to work,” and “ Ronda Fleming gives his limited acting powers to the work of his life as the wife of a detective, for whom the killer hunts ” ^[9] . “ TimeOut ” considers “the character Fleming is the biggest burden of the film (which the actress is not at all to blame for), constantly tormenting her husband with demands to forget from the police” ^[8] . Cady also notes that Wagner's wife Lyle (Rhonda Fleming) is extremely unsympathetic. She is always afraid for the safety of her husband, demands that he leave the police for clerical work, selfishly saying that he would allow other police officers to risk their lives. Wagner uses extreme resourcefulness to prevent her from knowing what danger threatens them both. Long before the finale, viewers lose their patience and feel that Wagner would be much better without her " ^[2] .

• Killer Freedom at IMDB  
• Killer on the loose at Allmovie  
• Killer on the loose at the American Film Institute website
• Killer on the loose at Turner Classic Movies
• YouTube Killer Movie Free