Leofwine_draca MOONRISE is a psychologically-focused film noir with a murder plot and bags of sleazy, fetid atmosphere. The main character is a malcontent who saw his father swing from a rope as a child, leaving him a legacy of bullying and shunning by the townsfolk. At the film's outset, he's finally had enough and commits murder, leaving a body in the woods. The typical suspense plot follows, mixing in a little romance with some police investigation, and you really wonder how it's all going to play out. The little-known cast members work hard to convince, but it's director Frank Borzage who does the finest job in terms of atmosphere.

roslein-674-874556 This movie is very confused. Let's start with the miscasting. The main character is a young man whose father was hanged for murder when he was a baby and who all his life has been ridiculed and mistrusted by the other residents of his small town, who think criminality is hereditary. It's a part that calls for a handsome, charismatic, troubled actor like Dean or Brando. But who do we get? Dane Clark, with the profile of a water vole and the attitude of a schlep. Instead of being dangerously, broodingly resentful, he is so whiny that one thinks, well why didn't you ever move away, then?In other parts, Harry Morgan, that byword for dry drollness, plays a deaf mute who is also simpleminded (oh, the pathos!), and the majestic Rex Ingram is given one of those awful condescending roles, the Wise Negro Hermit of saintly demeanor who lives in the woods and comforts the troubled. The sweet-natured, charming Allan Joslyn plays a grumpy sheriff who is permanently unshaven. On top of this, Clark's character rapidly wears out whatever welcome he might have by repeating his mistakes so often and so carelessly that whatever sympathy we might have turns to exasperation. And though he is a sorehead with no prospects, and not good-looking or sexy, the girl falls madly in love with him as soon as he kisses her, even though she is engaged to a handsome, rich boy with a completely different character. None of this makes any sense, and the filmmakers didn't seem to know what they were doing--right after we are trying to shiver ourselves out of a scene of gruesome violence, we are in a dance hall, where the bandstand crooner sings the romantic title song that one is not exactly in the mood to hear. I bet that tune never troubled the Top 40!

Michael Neumann The claustrophobic atmosphere of a studio bayou provides the visual attraction in this subdued but stylish melodrama, a parable of guilt and redemption set in a small, backwoods Southern town. The hero is a pathetic young man unable to cope with the memory of his dead father, who was executed for murder while his son was still an infant. Driven by the tainting and teasing of his peers, he commits a similar crime of his own, disposing the body in the local swamp. A fondness for his victim's girlfriend further disrupts his already fragile emotional equilibrium, but up until the final scenes the film is distinguished by a welcome lack of clichés or histrionics.

Spikeopath Directed by Frank Borzage and adapted from the novel by Theodore Strauss, Moonrise sees Dane Clark playing Danny Hawkins, the son of a man who was hanged for his crimes. Tormented by his father's past and bullied about it as a child, Hawkins grows into a confused and resentful man. Striking out at anyone foolish enough to cross his fractured state of mind, tragedy is quick to strike, sending Hawkins deep into the Southern mire. Can solace come in the form of Gilly Johnson? {Gail Russell} or is it simply too late to rejoin the human race?.We open with a hazy reflection that merges into the feet of walking men, men walking to the gallows as Danny Hawkins' father is hanged. The mood is well and truly set for Borzage's dreamy Film-Noir. It's something of an oddity in many ways for it most assuredly is Film-Noir, certainly in texture and on the technical issues it is, yet an overtly poetic heart and a distinctly less than broody ending almost steer it to being fanciful fluff. Borzage and his cinematographer, John L. Russell {in one of his first prominent assignments}, do wonders with the atmosphere of the piece. Set in the steamy South, shadows and darkness are a constant and rewarding part of proceedings, while swinging lights and conversations filmed at midriffs further enhance the skew whiff state of Dane Clark's protagonist. Also of note is that some scenes showcase why Borzage was rightly held in high regard back in the day, a Ferris Wheel, a car crash and a Racoon tree top sequence {that upset and engrossed me simultaneously} are just some of the reasons why this is a must see for Borzage enthusiasts.Coming as it does out of the Republic Pictures house of B moviedom, it's natural to expect some low budgetary issues. However, this is a splendid production belying its B movie worth. The cast are fine, with Clark particularly doing well as his character battles with anger and warmth issues, and the sets and location work are effective and benefit the story greatly. Thankfully, and even tho it has no restoration, the picture quality is very good, the sound mix is a bit down at times, but by and large this one has transfered well to prints being shown on British TV. With a support cast containing Ethel Barrymore, Allyn Joslyn {excellent}, Henry Morgan, Harry Carey Jr and a brief Lloyd Bridges, this is a recommended film of course. But I can't, and will not, vouch for the ending appeasing all comers. 7/10