Woman on the Run

Woman on the Run is a 1950 American crime film noir directed by Norman Foster and starring Ann Sheridan and Dennis O'Keefe.[1] The film was based on the April 1948 short story "Man on the Run" by Sylvia Tate and filmed on location in San Francisco.

Not to be confused with Women on the Run.
Woman on the Run
Directed byNorman Foster
Produced byHoward Welsch
Screenplay byAlan Campbell
Norman Foster
Ross Hunter (dialogue)
Based onthe short story "Man on the Run"
by Sylvia Tate
StarringAnn Sheridan
Dennis O'Keefe
Music byArthur Lange
Emil Newman
CinematographyHal Mohr
Edited byOtto Ludwig
Color processBlack and white
Production
company
Fidelity Pictures Corporation
Distributed byUniversal Pictures
Release date
  • November 29, 1950 (1950-11-29) (New York City)
Running time
77 minutes
CountryUnited States
LanguageEnglish

The film was restored and preserved by the UCLA Film & Television Archive.

Plot

Frank Johnson (Ross Elliott) is an unsuccessful painter who is out walking his dog one night when a car stops nearby and he overhears an argument. The passenger of the car is trying to blackmail the driver. Frank overhears the driver say that people call him "Danny Boy". Then he sees the driver shoot the man trying to blackmail him and then push his body out of the car. The killer then sees Frank hiding in the shadows and takes some shots at him before driving away.

The victim was going to testify before a grand jury against a gangster. Since Frank saw the shooter, Police Inspector Ferris (Robert Keith) wants to place him in protective custody so he can testify. Frank has second thoughts and slips away while the police are milling around. Ferris goes to Frank's wife, Eleanor (Ann Sheridan) to see if she can help him find Frank. She is not especially cooperative or concerned about her husband. She tells Ferris about her unhappy marriage and says that it's "just like him, always running away." Ferris asks her, "Running away from what?" She replies, "From everything." The police keep watch on her building in case Frank decides to come home.

Eleanor later tries to sneak out of her building without being spotted by the police and encounters reporter Danny Legget (Dennis O'Keefe). He offers his help and $1000 for an exclusive story. They both go to a club that Frank often visits in order to sketch the dancers. Sam ( Victor Sen Yung ), a waiter friend of Frank's, secretly passes along a message to Eleanor that Frank will send her a letter addressed to his co-worker Maibus ( John Qualen ). But Legget reads the message too without Eleanor noticing.

When Eleanor returns to her apartment, Ferris informs her that he has spoken with Dr Hohler (Steven Geray) who is Frank's doctor. Frank is taking medicine for a bad heart, a condition that she was unaware of. Ferris has instructed all druggists to notify him if someone asks for it. Eleanor goes to see Frank's doctor who tells her how serious her husband's condition can be and that it could even be fatal. The doctor gives Eleanor some of Frank's medicine.

Eleanor then goes to the Hart & Winston department store, the store where Frank works as a window designer to see if she can get the letter Frank sent to Maibus. But Maibus doesn't have the letter and the mail clerk tells him there was no letter.

Legget has managed to get the letter by bribing the mail clerk before Eleanor had arrived. Legget reads it but the letter doesn't tell him where to find Frank. He has to show the letter to Eleanor, who is the only person who can decipher the message. The letter gives some details that only Eleanor could know on where Frank is staying but Eleanor can't figure out what Frank is trying to tell her. They speak to Sam again at the club. One of the dancers, Suzie ( Reiko Sato ), mentions to Legget that Frank made a sketch that looks like him, but Eleanor doesn't hear her conversation with Legget. Suzie tells Legget that she expects that she will give the sketch to the police when they return. Legget and Eleanor cross the street to ask some questions in a bar that Frank liked. Legget leaves Eleanor to make a phone call and returns to the club unnoticed. Suzie dies from a mysterious fall from the building. Legget tears up the drawing before joining Eleanor again just as police cars and an ambulance arrive at the club.

During the course of her investigation, Eleanor learns things that she never knew about Frank. She learns that everyone who knows Frank likes and admires him. They all believe that she must be a wonderful person if Frank married her. She begins to question herself and her feelings for him as she realizes how much Frank really loves her.

Eleanor finally figures out the puzzle in Frank's letter to her and she and Legget go to a beachside amusement park at night. Ferris gets information that leads him to find the taxi that Legget and Eleanor took to the amusement park and when the taxi is located he goes there after them. Ferris also receives a phone call from Sam, who tells him that the only thing missing from Suzie's possessions is Frank's drawing and he understands that Legget is the killer. When Eleanor finds Frank at last, they embrace. She then goes to find Legget. They spot Ferris and get on the roller coaster to avoid being spotted. Legget has Eleanor stay on the roller coaster, while he goes to meet Frank. She suddenly realizes that Legget is the killer, as he remarked that Frank was shot at, a detail known only to her, the police, and the gunman, but she is trapped on the ride. Instead of shooting Frank, Leggett tries to stress Frank and provoke a heart attack to kill him. The two fight, and shots ring out. Eleanor runs to the scene to discover that Ferris has shot the corrupt reporter. She finds her husband, and the two embrace.

Cast

Production

The film was announced in January 1950 as Man on the Run.[2] Filming started 20 March 1950.[3]

J Farrell MacDonald was borrowed from 20th Century Fox.[4]

The film was shot on location in San Francisco and at Ocean Park Pier, Santa Monica, California, during the amusement park roller coaster scene.[5]

Ross Hunter worked as dialogue director on the film. He later produced some movies starring Sheridan at Universal helping launch Hunter's producing career.[6]

Reception

Film critic Bosley Crowther gave the film a generally positive film review. He wrote, "Since it never pretends to be more than it is, Woman on the Run, which began a stand at the Criterion yesterday, is melodrama of solid if not spectacular proportions. Working on what obviously was a modest budget, its independent producers may not have achieved a superior chase in this yarn about the search by the police and the fugitive's wife for a missing witness to a gangland killing. But as a combination of sincere characterizations, plausible dialogue, suspense and the added documentary attribute of a scenic tour through San Francisco, Woman on the Run may be set several notches above the usual cops-and-corpses contributions from the Coast ... Woman on the Run will not win prizes but it does make crime enjoyable."[7]

Film Comment reviewer Farran Smith Nehme praised Sheridan's performance.[8]

According to film scholar Philippa Gates, Woman on the Run is one of very few noir films foregrounding a heroine's quest, and especially one where "the heroine's quest is not necessarily complicated by [heterosexual romance ..., in fact] the love interests are absent for the majority of the story".[9]

See also

References
  1. Woman on the Run at the American Film Institute Catalog.
  2. Ann Sheridan's Next Movie to Be a Comedy with Cops and Gangsters: Looking at Hollywood..... Hopper, Hedda. Chicago Daily Tribune 13 Jan 1950: A6.
  3. TWO MOVIE FIRMS MERGE INTERESTS: Fidelity and Erskine Also List Ambitious Schedule for the New Production Company Western Slated for Flynn By THOMAS F. BRADY Special to THE NEW YORK TIMES6 Mar 1950: 28.
  4. FILMLAND BRIEFS Los Angeles Times (1923-1995); Los Angeles, Calif. [Los Angeles, Calif]23 May 1950: A6.
  5. ALONG BROADWAY: Roller Coaster 'Throws' Texas' Ann Sheridan Barron, Mark. Los Angeles Times (15 Oct 1950: D10.
  6. 'Red Badge' Off-Beat Casting Revel; Bruce Cabot Does Top Bad Man Schallert, Edwin. Los Angeles Times 7 Aug 1950: B9.
  7. Crowther, Bosley. The New York Times, film review, November 30, 1950. Accessed: August 18, 2013.
  8. "Too Late for Tears (1949) + Woman on the Run (1950) - Film Comment". Film Comment. 2016-05-06. Retrieved 2017-08-09.
  9. Philippa Gates, "Independence Unpunished: The Female Detective in Classic Film Noir", in Robert Miklitsch ed., Kiss the Blood off My Hands: On Classic Film Noir (Urbana: Univ. of IL Press, 2014), 21. See also Gates' full-length book on the subject of female detectives in film, Detecting Women: Gender and the Hollywood Detective Film (SUNY Press, 2011). ISBN 1-4384-3405-7
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