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अपराधवर्ष1950अवधि1h 20mIMDb6.7

Outside the Wall

अपराधड्रामाFilm-Noir

एक सैनिटेरियम में काम करने वाली लालची नर्स के प्रति एक पैरोल पर छूटे कैदी के आकर्षण के कारण वह अपराध की ओर बढ़ जाता है।

अभी देखें

ट्रेलर

कलाकार

Crane Wilbur

Director

Richard Basehart

Larry Nelson

Marilyn Maxwell

Charlotte Maynard

Signe Hasso

Celia Bentner

Dorothy Hart

Ann Taylor

Joseph Pevney

Gus Wormser

Lloyd Gough

Red Chaney

Harry Morgan

Garth

John Hoyt

Jack Bernard

Mickey Knox

Latzo

Harry Antrim

Dr. Stone

Joe Besser

Cook

Peggie Castle

Crossroads Tavern Waitress

Stephen Chase

Bartender

Paul Dubov

Stick-Up Man

Frank Gerstle

Stick-Up Man

AP

Anne P. Kramer

Bertie, the Waitress

Ralph Montgomery

Bar Customer

Tudor Owen

Watchman

HE

Henry Edward Helseth

Writer

Crane Wilbur

Writer

आपको ये भी पसंद आ सकते हैं

टिप्पणियाँ

10 टिप्पणियाँ

hynd14Oct 13, 2023

Damanta SthaJul 16, 2023

A very average B-Movie from the little-known Crane Wilbur, "Outside the Wall" finds basically innocent, nice guy Richard Basehart getting out of prison after serving 15 years on a murder rap committed when he was 14 and falling into bad company in the form of gold-digging nurse Marilyn Maxwell and ex-con John Hoyt's wife Signe Hasso and her murderous associates, one of whom happens to be Harry Morgan. It's certainly nobody's finest hour, least of all Basehart's, though both Maxwell and Hasso just about redeem themselves and Morgan makes for a surprisingly good villain. Unfortunately the far-fetched plot is wafer thin and Wilbur's direction is poor. One to avoid.

👑YASSINE FAOUZI👑Jul 16, 2023

Richard Baseheart never competed with such mega stars as Gregory Peck, Humphrey Bogart and John Wayne but kept more to himself concentrating on more complicated roles on a smaller scale, like a kind of understatement actor, but the result is that his roles are always interesting and intriguing. Here he is released from prison after fifteen years at the age of 29 and knows nothing about society. His only schooling in 15 years' imprisonment has been to handle tough guys and ruffians and a thorough knowledge of the criminal type. To get away from the stress and noise of Philadelphia, he heads for the country and finds a small friendly town where nothing ever happens, where he is employed as an assistant at a hospital. So far so good, but it is not. An old fellow gangster turns up in a dying state who has hidden a million away somewhere, and the fellow hoodlums he has fooled are after him, so he is not allowed to die in peace. Unfortunately Richard Baseheart is there, they recognise each other, and the case is cooked. From there on the strain and excitement of the thriller keeps constantly rising like a fever temperature, and a few dames get involved also. This is in many ways the perfect thriller, but Richard Baseheart's acting is what keeps it glowingly alive until it bursts into flames, and the finale is an ingenious climax of the composition.

Kenny Carter WestJul 10, 2023

From acne ridden adolescent, to hardened thirty year old, Richard Basehart has known only reform school and prison. He is a world leader on the workings of the criminal mind and on survival in the most iniquitous of company. He is also an abject novice on coping with an ever changing modern society, characterized by high rise buildings, fast cars, noisy, bustling city streets and rapidly advancing automation. Utterly naive about girls and alcohol. RESULT: Overpowering two armed robbers? - Piece of cake. Crossing the road?.......Nightmare! Despite brittle, awkward social skills, Basehart puts his best foot forward, landing a steady, responsible job at a sanatorium and with some cheery colleagues there is genuine cause for optimism, until he falls foul of feeble, fast fading felon, John Hoyt, wheeled in as a patient. Suddenly, Basehart is teetering on the brink. Facing a dilemma. The lure of big, but dirty money and with a high maintenance girlfriend in tow, will the temptation prove too great? On one level, this is just a neat little crime flick, about a man who has served his time, is eager to go straight, but finds himself compromised as much by the corruption of the outside world, as by demons from his past. Alternatively it stands as a stark polemic on a woefully inadequate, not fit for purpose system, failing miserably to support ex-criminals as they desperately seek to adjust and find fulfillment in life, outside the wall.

Lintle MosolaJun 29, 2023

Taylor DearJun 13, 2023

Larry Nelson (Richard Basehart) is a 29 year old convict who wins his plea for a pardon. But "outside the wall" freedom is initially not so sweet. He was in a reform school at 14 - he describes himself as an incorrigible hood at that age - and when a guard who dislikes him hits him, he hits him back, the guard falls and dies, and Larry is convicted of murder but given life in prison instead of death because of his young age. So he is free with 672 dollars he has earned over the course of his imprisonment (that would be about 12 thousand dollars now), but he has never been on a date, never taken a drink, never driven a car or learned how, never applied for a real job. After a couple of days of bad experiences in the city, he hits the road and "tramps it" to a small town and gets a job as a lab assistant in a hospital for TB patients, hoping just to keep his head down and stay out of trouble. On the way to the small town, he reads about a one million dollar robbery in which three of the robbers were killed and three armored car guards were killed. Two robbers escaped. And then one of the robbers shows up at the rest home with a bad case of TB. Larry recognizes him from his time in prison, but true to the prison code, tells him he will not rat him out. The robber asks him to help him get some of the robbery loot to his wife in Philadelphia. Larry refuses to help. At first. But then he starts pining for a nurse who is money hungry bad news, and he thinks that some of the robber's money will win her affection, so he agrees to help the ailing robber. Complications ensue. I would normally be annoyed by somebody who makes the obviously bad and even stupid choices that Larry Nelson makes in this film, figuring that any intelligent 30 year old should know better than to trust such a greedy woman as the nurse he lusts after or the murderous robber who wants his help. But then, Larry Nelson experientially is 14, not 30. Thus he makes the mistakes that any 14 year old would make in the same situation. But he learns fast. This was really a great part for Basehart. I believe him as the hardened con and I believe him as the naive teenager in a 30 year old body. If you want to see Basehart in another film where he practically has a dual role, watch "Tension". But by all means do see this, as it has suspense, noirish undertones, and a great performance by Basehart.

Nomzy SthollyJun 12, 2023

Richard Basehart went into Cherry Hill Prison when he was 14. Now he's 29, and has just been pardoned. The world has grown noisy and strange, but he just wants to keep his head down, so he winds up in a small town working for almost nothing at a hospital that specializes in lungers. He vaguely hopes to get a girl friend, but doesn't know anything about women, so when nurse Marilyn Maxwell turns him down because she's looking for a rich man, he agrees to help armored-car robber Joseph Pevney get some money to his ex-wife in return for a bankroll. He impresses Miss Maxwell with the money, but the wife's mob wants all of the money from the robbery. I'm so used to Basehart playing deep-voiced authority figures in the 1960s, that watching him play this young-old fish out of water is startling. Crane Wilbur directs his actors to very simple performances that lead you to think that this is all inevitable, while getting in a subtextual knock at society's unwillingness to accept ex-cons. With Signe Hasso, Dorothy Hart, Lloyd Gough and Harry Morgan.

Jayzam ManabatJun 10, 2023

source: Outside the Wall

striveJun 10, 2023

The premise of a convict trying for a fresh start isn't a new one, but I liked the unique characterization or Richard Basehart in Outside the Wall. He plays a young man who's spent more than half his life in prison. While he was a fourteen-year-old in reform school, he beat up a guard (who later died) and was sentenced to murder. After fifteen years, he receives a pardon and is completely unprepared for the outside world. Think about it: the last time he saw the outside, he was a little boy. He's never driven a car, worked at a job, gone on a date, paid bills, or lived on his own. Thrust out into a new world, he gets a job working in a sanitarium and quickly falls for the first blonde who turns his head, Marilyn Maxwell. Dorothy Hart is the brunette nurse with a heart of gold, in contrast to Marilyn's obvious gold digging schemes. Will the innocent protagonist see through her, or will he have to grow up the hard way? This old movie doesn't feel like it was made in 1950; it feels like it was made in the early 1930s. Everything about it is old-fashioned, from the good girl and bad girl contrast, to the simple filmmaking techniques, to the type of turns the plot takes. I kept expecting Chester Morris to show up with Carole Lombard, Kay Francis, and Shirley Temple. If you like old movies, and especially ex-con movies, try this one out.

Loubn & Salma 🤱Jun 10, 2023

All credits except the title itself and the Universal emblem are on the end of the film, so when it starts off, this movie looks like a semi-documentary prison yarn, lensed on actual locations. However, the plot soon reverts to a typical innocent man involved with robbers yarn. It's saved from mediocrity by the interesting cast: I'm always glad to see Dorothy Hart even when, as here, the photographer reserves his choicest lighting and angles for someone else -- in this case, Marilyn Maxwell who delivers her usual vampy interpretation of a mercenary blonde. Also in the cast: Signe Hasso, looking somewhat older than the 34 years alleged by Universal's publicity department. She was actually 39. Joe Besser has a small role as a short order chef. John Hoyt forsakes his usual appearance as well as his customary deep voice, and is very effective. Henry "Harry" Morgan is really powerful as a sadistic gangster. Alas, the main problem with this movie is the script. It just doesn't ring true. For example, if our heroine is so mercenary, how come she hasn't made a play for some of the sanatorium's wealthy patients? And why does she bother giving the come-on to Richard Basehart when she knows for a fact that he doesn't have a plugged nickel? Presumably to satisfy her vanity, but the script doesn't make this clear. Also, there was no need to rescue Stoker, as Basehart had already given the storage clerk the tip-off. Crane Wilbur's direction is routine, but, as noted above, location photography helps.

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