COMING AT YOU ... in a blast of terrific drama!
Director: Anatole Litvak
Writer: John Wexley
Producer: Anatole Litvak, Raymond Hakim, Robert Hakim
City police surround a building, attempting to capture a suspected murderer. The suspect knows there is no escape but refuses to give in.
101 min
Rating: 5.743/10
Released
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Top Cast
Henry Fonda
Joe Adams
Barbara Bel Geddes
Jo Ann
Vincent Price
Maximilian the Great
Ann Dvorak
Charlene
Howard Freeman
Sheriff Ned Meade
Moroni Olsen
Chief of Police Bob McManus
Movie Info
Director: Anatole Litvak
Writer: John Wexley
Producer: Anatole Litvak, Raymond Hakim, Robert Hakim
Production Companies: Select Productions (III)
Countries: United States of America
Now Streaming On
Amazon Prime Video
Amazon Prime Video with Ads
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What Others Said
CinemaSerf:
The claustrophobic setting and the photography here really do promise much, but as the story unravels it becomes all a bit disappointing. Henry Fonda is beleaguered war veteran “Joe” who has returned to discover that a lot has changed since his departure. For a start, his beloved “Jo Ann” (Barbara Bel Geddes) turns out to have been slightly economical with the truth about her relationship with the odious magician “Max” (Vincent Price). On that front, his former assistant “Charlene” (Ann Dvorak) is not entirely unknown to “Joe” either. Now this is told via flashback, and so we know that “Joe” is holed up in an apartment that’s been riddled by official bullets and that someone is dead at his hands. What we don’t yet know is who and why. That explanation doesn’t work so well here, despite a strong effort from Fonda and a gently engaging one from the ladies. Price has the best role in the story, I think, but he just over-eggs his character and what little sense of jeopardy the flashbacks allow is replaced by more than an hint of rather stolidly played out love-quadrangle melodrama. It’s based on a much grittier story by Jacques Viot - that has nothing to do with war, veterans nor psychological exhaustion, and that imbues the characters with much more nuance and passion than we see here as “Joe” is almost given excuses for his behaviour by his traumatic experiences in France. Sadly, after a really compelling and dark start it heads to a conclusion that just leaves very little to the imagination.