Fifth about The Seventh

The Breaking Point (1950)

The Breaking Point: Michael Curtiz may not have the usual aesthetics, but the story, characters and themes make this an unusual but efficient and solid film noir. It’s a sad, cautionary tale, told in a very natural manner, frill-free; the stakes are well-defined and high, so the result is engaging and touching. The acting is low-key and very convincing: John Garfield is excellent as the broken protagonist, playing well both facets of his character; Patricia Neal is incredibly alluring as the quasi femme fatale; Phyllis Thaxter is likewise very fine. Ted D. McCord’s camerawork call no attention to itself, but the constant camera moves and reframes make this a superior effort.

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