Oct. 28, 2025
Gun Crazy - Love, Obsession, and the Noir Revolution
In this episode of the Classic Film Club, we take a thrilling plunge into the world of post-war film noir with the groundbreaking classic *Gun Crazy* (1950). Join host Brian as he unpacks the electrifying story of Bart Tare, a young man whose childhood fascination with firearms spirals into a passionate yet destructive relationship with carnival sharpshooter Laurie Starr. Discover how their intense chemistry propels them into a life of crime, driven by love, obsession, and a thirst for excitement. We delve into the film's revolutionary technical achievements, including the iconic bank robbery sequence shot in a single unedited take, and explore director Joseph H. Lewis's innovative visual style that enhances the narrative's emotional depth. The episode highlights the powerful performances of Peggy Cummins and John Dall, and the hidden history of the screenplay co-written by blacklisted writer Dalton Trumbo, adding layers of defiance to this tale of outsiders. As we analyze *Gun Crazy*'s lasting impact on cinema, particularly its influence on later films like *Bonnie and Clyde*, we also reflect on its themes of love, obsession, and the costs of passion. Does this classic still resonate with modern audiences? Tune in to find out, and share your thoughts on whether *Gun Crazy* holds up in today's cinematic landscape.
For more, visit our website at https://bitesz.com/podcast/the-classic-film-club-revisited-re-rated and join the conversation on Spotify, YouTubeMusic, and Facebook. Don't forget to subscribe for more cinematic journeys!
WEBVTT
0
00:00:00.000 --> 00:00:02.160
Brian: Hello and welcome back to the Classic Film
1
00:00:02.160 --> 00:00:04.680
Club, the podcast where we dust off the
2
00:00:04.680 --> 00:00:07.440
reels, revisit Hollywood's golden age
3
00:00:07.600 --> 00:00:10.440
and ask the big question. Do these
4
00:00:10.440 --> 00:00:13.120
classics still hold up today? I'm your host,
5
00:00:13.120 --> 00:00:15.760
Brian. And today we're diving headfirst into
6
00:00:15.760 --> 00:00:18.480
one of the most electrifying examples of post
7
00:00:18.480 --> 00:00:20.880
war film noir. Gun Crazy.
8
00:00:21.200 --> 00:00:24.200
Released in 1950 and starring Peggy Cummings
9
00:00:24.200 --> 00:00:24.880
and John Dall
10
00:00:34.140 --> 00:00:36.620
the 1950 film noir Gun Crazy
11
00:00:36.780 --> 00:00:39.060
stands as a groundbreaking exploration of
12
00:00:39.060 --> 00:00:41.740
obsession, love and violence in post war
13
00:00:41.740 --> 00:00:44.660
America. This influential movie tells
14
00:00:44.660 --> 00:00:47.300
the story of Bart Tare a young man whose
15
00:00:47.300 --> 00:00:49.260
fascination with firearms begins in
16
00:00:49.260 --> 00:00:52.020
childhood. Not out of violent tendencies, but
17
00:00:52.020 --> 00:00:54.580
from a pure technical interest that lands him
18
00:00:54.580 --> 00:00:56.860
in reform school after stealing a gun.
19
00:00:57.590 --> 00:00:59.750
The film establishes early that Bart isn't
20
00:00:59.750 --> 00:01:02.510
violent by nature, a point he emphasizes to
21
00:01:02.510 --> 00:01:04.790
the judge during his hearing. The narrative
22
00:01:04.790 --> 00:01:06.990
takes a dramatic turn when the adult Bart
23
00:01:06.990 --> 00:01:09.190
encounters Laurie Starr, a carnival
24
00:01:09.190 --> 00:01:11.270
sharpshooter who can hit targets while
25
00:01:11.270 --> 00:01:13.670
blindfolded. Their immediate attraction
26
00:01:13.670 --> 00:01:15.830
ignites a passionate and ultimately
27
00:01:15.830 --> 00:01:18.750
destructive relationship. Lori's thirst for
28
00:01:18.750 --> 00:01:21.110
excitement draws the initially reluctant Bart
29
00:01:21.110 --> 00:01:23.830
into a life of crime, setting them on a path
30
00:01:23.830 --> 00:01:26.410
of no return. Their chemistry is electric
31
00:01:26.410 --> 00:01:28.330
from their first meeting across the carnival
32
00:01:28.330 --> 00:01:30.850
tent marking the beginning of their dangerous
33
00:01:30.850 --> 00:01:33.610
descent. The film's technical achievements
34
00:01:33.610 --> 00:01:36.530
were revolutionary for its time, particularly
35
00:01:36.530 --> 00:01:38.930
the famous bank robbery sequence captured in
36
00:01:38.930 --> 00:01:41.850
a single unedited take from the backseat of a
37
00:01:41.850 --> 00:01:44.770
car. This scene, shot guerrilla
38
00:01:44.770 --> 00:01:46.730
style on real streets with actual
39
00:01:46.730 --> 00:01:49.610
pedestrians, exemplifies director Joseph
40
00:01:49.610 --> 00:01:52.330
H. Lewis innovative approach to filmmaking.
41
00:01:53.040 --> 00:01:55.480
Lewis, nicknamed Wagon Wheel Joe for his
42
00:01:55.480 --> 00:01:58.400
distinctive visual style, made creative use
43
00:01:58.400 --> 00:02:00.400
of unusual camera angles and frames,
44
00:02:00.720 --> 00:02:02.880
including shooting through wagon spokes,
45
00:02:03.120 --> 00:02:05.720
fences and reflections to enhance the
46
00:02:05.720 --> 00:02:08.439
film's artistic impact. The casting
47
00:02:08.439 --> 00:02:10.480
proved crucial to the film's enduring appeal.
48
00:02:11.360 --> 00:02:14.320
Peggy Cummings, at just 25 and born in Wales,
49
00:02:14.560 --> 00:02:17.080
brought both sweetness and danger to the role
50
00:02:17.080 --> 00:02:19.710
of Laurie Star. Having already starred
51
00:02:19.710 --> 00:02:22.310
opposite Tyrone Power in the late George
52
00:02:22.310 --> 00:02:25.230
Apley and Forever Amber, Cummings
53
00:02:25.230 --> 00:02:26.790
delivered a performance that feels
54
00:02:26.790 --> 00:02:29.790
startlingly modern. John Dahl's portrayal
55
00:02:29.790 --> 00:02:32.710
of Bart provided a compelling contrast. His
56
00:02:32.710 --> 00:02:35.310
classical training and natural vulnerability
57
00:02:35.710 --> 00:02:37.910
created a character torn between moral
58
00:02:37.910 --> 00:02:40.870
conscience and overwhelming love. Dall was
59
00:02:40.870 --> 00:02:43.430
known for his role in Hitchcock's Rope, where
60
00:02:43.430 --> 00:02:45.470
he demonstrated his ability to portray
61
00:02:45.470 --> 00:02:48.280
complex, troubled characters. An interesting
62
00:02:48.280 --> 00:02:51.280
historical. The screenplay was secretly
63
00:02:51.280 --> 00:02:53.600
co written by Dalton Trumbo, one of the
64
00:02:53.600 --> 00:02:56.600
blacklisted Hollywood 10 due to McCarthy
65
00:02:56.600 --> 00:02:59.000
era censorship. Another writer, Millard
66
00:02:59.000 --> 00:03:00.960
Kaufman, was credited instead.
67
00:03:01.440 --> 00:03:03.640
Trumbo's contribution wasn't officially
68
00:03:03.640 --> 00:03:05.920
acknowledged until decades later, adding
69
00:03:05.920 --> 00:03:08.040
another layer of defiance to this story about
70
00:03:08.040 --> 00:03:10.960
outsiders. While Gun Crazy didn't achieve
71
00:03:10.960 --> 00:03:13.720
immediate commercial success upon its 1950
72
00:03:13.720 --> 00:03:16.070
release, with critics divided between
73
00:03:16.070 --> 00:03:19.030
dismissing it as pulp and recognizing its
74
00:03:19.030 --> 00:03:21.510
innovative qualities, it gained significant
75
00:03:21.750 --> 00:03:24.590
recognition during the 1960s. The
76
00:03:24.590 --> 00:03:26.830
film's influence can be clearly seen in later
77
00:03:26.830 --> 00:03:29.430
works, particularly 1967's
78
00:03:29.430 --> 00:03:32.070
Bonnie and Clyde, with directors Arthur
79
00:03:32.070 --> 00:03:34.950
Penn and Robert Benton directly citing it
80
00:03:34.950 --> 00:03:37.710
as an influence. The production's low budget
81
00:03:37.710 --> 00:03:39.990
actually contributed to its authentic feel.
82
00:03:40.800 --> 00:03:42.720
Many scenes were filmed without permits,
83
00:03:42.800 --> 00:03:45.240
using real locations and genuine public
84
00:03:45.240 --> 00:03:47.960
reactions. Director Lewis famously
85
00:03:47.960 --> 00:03:50.120
instructed his leads to perform as if they
86
00:03:50.120 --> 00:03:52.000
were the only two people left in the world,
87
00:03:52.480 --> 00:03:55.080
creating an intense intimacy that permeates
88
00:03:55.080 --> 00:03:57.440
the entire film. This approach
89
00:03:57.600 --> 00:04:00.520
resulted in a documentary like realism that
90
00:04:00.520 --> 00:04:03.280
was ahead of its time. Originally titled
91
00:04:03.280 --> 00:04:05.680
Deadly as the Female, the movie was later
92
00:04:05.680 --> 00:04:08.650
renamed Gun Crazy. Though it premiered under
93
00:04:08.650 --> 00:04:11.130
its original title in some cities, today,
94
00:04:11.130 --> 00:04:13.290
it's preserved in the US National Film
95
00:04:13.290 --> 00:04:16.170
Registry. Recognized for its cultural and
96
00:04:16.170 --> 00:04:18.810
artistic significance. The film's enduring
97
00:04:18.810 --> 00:04:21.410
power lies not just in its action sequences
98
00:04:21.570 --> 00:04:24.210
or crime narrative, but in its intimate
99
00:04:24.210 --> 00:04:26.930
portrayal of destructive love and addiction.
100
00:04:27.490 --> 00:04:30.410
Not to crime itself, but to the intensity
101
00:04:30.410 --> 00:04:33.090
of human connection. At its core,
102
00:04:33.550 --> 00:04:36.270
Gun Crazy transcends its noir
103
00:04:36.270 --> 00:04:38.910
origins to become a study of obsession
104
00:04:38.990 --> 00:04:41.990
and the prices we pay for passion. The
105
00:04:41.990 --> 00:04:44.470
film's technical innovations, combined with
106
00:04:44.470 --> 00:04:46.510
its psychological depth and raw energy,
107
00:04:46.910 --> 00:04:49.150
continue to influence filmmakers and
108
00:04:49.229 --> 00:04:51.950
captivate audiences, cementing its place
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00:04:51.950 --> 00:04:54.790
in cinema history as more than just another
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00:04:54.790 --> 00:04:57.670
crime thriller. Its exploration of the
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00:04:57.670 --> 00:05:00.270
relationship between love and obsession and
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00:05:00.270 --> 00:05:02.950
destruction remains relevant and compelling
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00:05:02.950 --> 00:05:05.430
for modern viewers, making it a significant
114
00:05:05.590 --> 00:05:08.110
piece of American cinema that continues to
115
00:05:08.110 --> 00:05:10.910
resonate decades after its release. It feels
116
00:05:10.910 --> 00:05:12.630
like you're intruding on something private,
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00:05:13.190 --> 00:05:16.190
dangerous, and all too human. Let's drop
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00:05:16.190 --> 00:05:18.630
a few bits of trivia perfect for your next
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00:05:18.630 --> 00:05:21.390
movie night. Flex. The film's original title
120
00:05:21.390 --> 00:05:23.990
was Deadly as the Female. It premiered under
121
00:05:23.990 --> 00:05:25.750
that name in some cities before being
122
00:05:25.750 --> 00:05:28.670
retitled Gun Crazy. The production was
123
00:05:28.670 --> 00:05:31.110
so low budget that some of the robbery scenes
124
00:05:31.110 --> 00:05:33.750
were shot without permits, using real streets
125
00:05:33.750 --> 00:05:36.390
and unsuspecting townspeople. Director
126
00:05:36.390 --> 00:05:39.310
Joseph H. Lewis told Cummings and Dall to act
127
00:05:39.310 --> 00:05:41.390
like they were the only two people left in
128
00:05:41.390 --> 00:05:43.950
the world. That intimacy defines the
129
00:05:43.950 --> 00:05:46.710
entire film. And that legendary one
130
00:05:46.710 --> 00:05:49.550
take bank robbery sequence. It was filmed
131
00:05:49.550 --> 00:05:51.910
guerrilla style from a real car,
132
00:05:52.230 --> 00:05:55.070
on real streets, using real reactions.
133
00:05:55.470 --> 00:05:58.270
No reshoots, no staged extras, just
134
00:05:58.270 --> 00:06:01.270
pure adrenaline. So does Gun
135
00:06:01.270 --> 00:06:04.080
Crazy still hold up for me? Absolutely. it's
136
00:06:04.080 --> 00:06:06.720
pulpy and stylish, but also deeply
137
00:06:06.720 --> 00:06:08.800
emotional and surprisingly modern.
138
00:06:09.520 --> 00:06:11.840
Underneath the gun smoke, it's really about
139
00:06:11.840 --> 00:06:14.560
addiction. Not to crime, but
140
00:06:14.560 --> 00:06:17.560
to love. Two people who can't escape
141
00:06:17.560 --> 00:06:20.550
each other or themselves. But
142
00:06:20.550 --> 00:06:23.350
what about you? Have you seen Gun Crazy?
143
00:06:23.590 --> 00:06:26.150
Does it still pack a punch in 2025?
144
00:06:26.550 --> 00:06:29.030
Or does it feel like a relic of another age?
145
00:06:29.430 --> 00:06:32.110
Give it a watch, then rate it out of 10 and
146
00:06:32.110 --> 00:06:33.710
drop your thoughts and rating in the
147
00:06:33.710 --> 00:06:35.990
comments. You'll find us on Spotify,
148
00:06:36.070 --> 00:06:38.670
YouTubeMusic and Facebook. Just search the
149
00:06:38.670 --> 00:06:41.110
Classic Film Club. And if you're enjoying
150
00:06:41.110 --> 00:06:43.590
these journeys through cinema's past, make
151
00:06:43.590 --> 00:06:46.560
sure to follow or subscribe so you never miss
152
00:06:46.560 --> 00:06:49.520
an episode. Next time, we'll tackle
153
00:06:49.520 --> 00:06:52.430
another noir gem. one that asks whether
154
00:06:52.430 --> 00:06:55.310
redemption ever really exists. Until
155
00:06:55.310 --> 00:06:58.190
then, I'm Brian. Your classic
156
00:06:58.190 --> 00:07:00.990
film Tragic. And this has been the Classic
157
00:07:00.990 --> 00:07:01.670
Film Club.
0
00:00:00.000 --> 00:00:02.160
Brian: Hello and welcome back to the Classic Film
1
00:00:02.160 --> 00:00:04.680
Club, the podcast where we dust off the
2
00:00:04.680 --> 00:00:07.440
reels, revisit Hollywood's golden age
3
00:00:07.600 --> 00:00:10.440
and ask the big question. Do these
4
00:00:10.440 --> 00:00:13.120
classics still hold up today? I'm your host,
5
00:00:13.120 --> 00:00:15.760
Brian. And today we're diving headfirst into
6
00:00:15.760 --> 00:00:18.480
one of the most electrifying examples of post
7
00:00:18.480 --> 00:00:20.880
war film noir. Gun Crazy.
8
00:00:21.200 --> 00:00:24.200
Released in 1950 and starring Peggy Cummings
9
00:00:24.200 --> 00:00:24.880
and John Dall
10
00:00:34.140 --> 00:00:36.620
the 1950 film noir Gun Crazy
11
00:00:36.780 --> 00:00:39.060
stands as a groundbreaking exploration of
12
00:00:39.060 --> 00:00:41.740
obsession, love and violence in post war
13
00:00:41.740 --> 00:00:44.660
America. This influential movie tells
14
00:00:44.660 --> 00:00:47.300
the story of Bart Tare a young man whose
15
00:00:47.300 --> 00:00:49.260
fascination with firearms begins in
16
00:00:49.260 --> 00:00:52.020
childhood. Not out of violent tendencies, but
17
00:00:52.020 --> 00:00:54.580
from a pure technical interest that lands him
18
00:00:54.580 --> 00:00:56.860
in reform school after stealing a gun.
19
00:00:57.590 --> 00:00:59.750
The film establishes early that Bart isn't
20
00:00:59.750 --> 00:01:02.510
violent by nature, a point he emphasizes to
21
00:01:02.510 --> 00:01:04.790
the judge during his hearing. The narrative
22
00:01:04.790 --> 00:01:06.990
takes a dramatic turn when the adult Bart
23
00:01:06.990 --> 00:01:09.190
encounters Laurie Starr, a carnival
24
00:01:09.190 --> 00:01:11.270
sharpshooter who can hit targets while
25
00:01:11.270 --> 00:01:13.670
blindfolded. Their immediate attraction
26
00:01:13.670 --> 00:01:15.830
ignites a passionate and ultimately
27
00:01:15.830 --> 00:01:18.750
destructive relationship. Lori's thirst for
28
00:01:18.750 --> 00:01:21.110
excitement draws the initially reluctant Bart
29
00:01:21.110 --> 00:01:23.830
into a life of crime, setting them on a path
30
00:01:23.830 --> 00:01:26.410
of no return. Their chemistry is electric
31
00:01:26.410 --> 00:01:28.330
from their first meeting across the carnival
32
00:01:28.330 --> 00:01:30.850
tent marking the beginning of their dangerous
33
00:01:30.850 --> 00:01:33.610
descent. The film's technical achievements
34
00:01:33.610 --> 00:01:36.530
were revolutionary for its time, particularly
35
00:01:36.530 --> 00:01:38.930
the famous bank robbery sequence captured in
36
00:01:38.930 --> 00:01:41.850
a single unedited take from the backseat of a
37
00:01:41.850 --> 00:01:44.770
car. This scene, shot guerrilla
38
00:01:44.770 --> 00:01:46.730
style on real streets with actual
39
00:01:46.730 --> 00:01:49.610
pedestrians, exemplifies director Joseph
40
00:01:49.610 --> 00:01:52.330
H. Lewis innovative approach to filmmaking.
41
00:01:53.040 --> 00:01:55.480
Lewis, nicknamed Wagon Wheel Joe for his
42
00:01:55.480 --> 00:01:58.400
distinctive visual style, made creative use
43
00:01:58.400 --> 00:02:00.400
of unusual camera angles and frames,
44
00:02:00.720 --> 00:02:02.880
including shooting through wagon spokes,
45
00:02:03.120 --> 00:02:05.720
fences and reflections to enhance the
46
00:02:05.720 --> 00:02:08.439
film's artistic impact. The casting
47
00:02:08.439 --> 00:02:10.480
proved crucial to the film's enduring appeal.
48
00:02:11.360 --> 00:02:14.320
Peggy Cummings, at just 25 and born in Wales,
49
00:02:14.560 --> 00:02:17.080
brought both sweetness and danger to the role
50
00:02:17.080 --> 00:02:19.710
of Laurie Star. Having already starred
51
00:02:19.710 --> 00:02:22.310
opposite Tyrone Power in the late George
52
00:02:22.310 --> 00:02:25.230
Apley and Forever Amber, Cummings
53
00:02:25.230 --> 00:02:26.790
delivered a performance that feels
54
00:02:26.790 --> 00:02:29.790
startlingly modern. John Dahl's portrayal
55
00:02:29.790 --> 00:02:32.710
of Bart provided a compelling contrast. His
56
00:02:32.710 --> 00:02:35.310
classical training and natural vulnerability
57
00:02:35.710 --> 00:02:37.910
created a character torn between moral
58
00:02:37.910 --> 00:02:40.870
conscience and overwhelming love. Dall was
59
00:02:40.870 --> 00:02:43.430
known for his role in Hitchcock's Rope, where
60
00:02:43.430 --> 00:02:45.470
he demonstrated his ability to portray
61
00:02:45.470 --> 00:02:48.280
complex, troubled characters. An interesting
62
00:02:48.280 --> 00:02:51.280
historical. The screenplay was secretly
63
00:02:51.280 --> 00:02:53.600
co written by Dalton Trumbo, one of the
64
00:02:53.600 --> 00:02:56.600
blacklisted Hollywood 10 due to McCarthy
65
00:02:56.600 --> 00:02:59.000
era censorship. Another writer, Millard
66
00:02:59.000 --> 00:03:00.960
Kaufman, was credited instead.
67
00:03:01.440 --> 00:03:03.640
Trumbo's contribution wasn't officially
68
00:03:03.640 --> 00:03:05.920
acknowledged until decades later, adding
69
00:03:05.920 --> 00:03:08.040
another layer of defiance to this story about
70
00:03:08.040 --> 00:03:10.960
outsiders. While Gun Crazy didn't achieve
71
00:03:10.960 --> 00:03:13.720
immediate commercial success upon its 1950
72
00:03:13.720 --> 00:03:16.070
release, with critics divided between
73
00:03:16.070 --> 00:03:19.030
dismissing it as pulp and recognizing its
74
00:03:19.030 --> 00:03:21.510
innovative qualities, it gained significant
75
00:03:21.750 --> 00:03:24.590
recognition during the 1960s. The
76
00:03:24.590 --> 00:03:26.830
film's influence can be clearly seen in later
77
00:03:26.830 --> 00:03:29.430
works, particularly 1967's
78
00:03:29.430 --> 00:03:32.070
Bonnie and Clyde, with directors Arthur
79
00:03:32.070 --> 00:03:34.950
Penn and Robert Benton directly citing it
80
00:03:34.950 --> 00:03:37.710
as an influence. The production's low budget
81
00:03:37.710 --> 00:03:39.990
actually contributed to its authentic feel.
82
00:03:40.800 --> 00:03:42.720
Many scenes were filmed without permits,
83
00:03:42.800 --> 00:03:45.240
using real locations and genuine public
84
00:03:45.240 --> 00:03:47.960
reactions. Director Lewis famously
85
00:03:47.960 --> 00:03:50.120
instructed his leads to perform as if they
86
00:03:50.120 --> 00:03:52.000
were the only two people left in the world,
87
00:03:52.480 --> 00:03:55.080
creating an intense intimacy that permeates
88
00:03:55.080 --> 00:03:57.440
the entire film. This approach
89
00:03:57.600 --> 00:04:00.520
resulted in a documentary like realism that
90
00:04:00.520 --> 00:04:03.280
was ahead of its time. Originally titled
91
00:04:03.280 --> 00:04:05.680
Deadly as the Female, the movie was later
92
00:04:05.680 --> 00:04:08.650
renamed Gun Crazy. Though it premiered under
93
00:04:08.650 --> 00:04:11.130
its original title in some cities, today,
94
00:04:11.130 --> 00:04:13.290
it's preserved in the US National Film
95
00:04:13.290 --> 00:04:16.170
Registry. Recognized for its cultural and
96
00:04:16.170 --> 00:04:18.810
artistic significance. The film's enduring
97
00:04:18.810 --> 00:04:21.410
power lies not just in its action sequences
98
00:04:21.570 --> 00:04:24.210
or crime narrative, but in its intimate
99
00:04:24.210 --> 00:04:26.930
portrayal of destructive love and addiction.
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Not to crime itself, but to the intensity
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of human connection. At its core,
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Gun Crazy transcends its noir
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origins to become a study of obsession
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and the prices we pay for passion. The
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film's technical innovations, combined with
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its psychological depth and raw energy,
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continue to influence filmmakers and
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captivate audiences, cementing its place
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in cinema history as more than just another
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crime thriller. Its exploration of the
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relationship between love and obsession and
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destruction remains relevant and compelling
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for modern viewers, making it a significant
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piece of American cinema that continues to
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resonate decades after its release. It feels
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like you're intruding on something private,
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dangerous, and all too human. Let's drop
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a few bits of trivia perfect for your next
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movie night. Flex. The film's original title
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was Deadly as the Female. It premiered under
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that name in some cities before being
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retitled Gun Crazy. The production was
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so low budget that some of the robbery scenes
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were shot without permits, using real streets
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and unsuspecting townspeople. Director
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Joseph H. Lewis told Cummings and Dall to act
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like they were the only two people left in
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the world. That intimacy defines the
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entire film. And that legendary one
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take bank robbery sequence. It was filmed
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guerrilla style from a real car,
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on real streets, using real reactions.
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No reshoots, no staged extras, just
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pure adrenaline. So does Gun
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Crazy still hold up for me? Absolutely. it's
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pulpy and stylish, but also deeply
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emotional and surprisingly modern.
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Underneath the gun smoke, it's really about
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addiction. Not to crime, but
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to love. Two people who can't escape
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each other or themselves. But
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what about you? Have you seen Gun Crazy?
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Does it still pack a punch in 2025?
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Or does it feel like a relic of another age?
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Give it a watch, then rate it out of 10 and
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drop your thoughts and rating in the
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comments. You'll find us on Spotify,
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YouTubeMusic and Facebook. Just search the
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Classic Film Club. And if you're enjoying
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these journeys through cinema's past, make
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sure to follow or subscribe so you never miss
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an episode. Next time, we'll tackle
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another noir gem. one that asks whether
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redemption ever really exists. Until
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then, I'm Brian. Your classic
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film Tragic. And this has been the Classic
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Film Club.
