The Chase
"The most terrifying chase in screen history!"
Plot
Chuck Scott, a down-on-his-luck veteran suffering from war-induced nightmares, finds a wallet on the street and returns it to its owner, gangster Eddie Roman. Impressed by Chuck's honesty, Roman hires him as a chauffeur, despite warnings from his associates about Roman's dangerous nature. Chuck becomes entangled in a complex web of deceit when he begins an affair with Roman's terrified wife Lorna, who desperately wants to escape her abusive husband. As Chuck and Lorna plan their getaway to Havana, they discover Roman's reach extends far beyond Miami, with his criminal empire and sadistic tendencies making escape seemingly impossible. The film culminates in a surreal, nightmarish sequence where Chuck realizes he may never truly escape Roman's influence, blurring the lines between reality and his psychological torment.
About the Production
The film was based on the novel 'The Black Path of Fear' by Cornell Woolrich, published under his pseudonym William Irish. Director Arthur Ripley, known for his work with Preston Sturges, brought a surreal, expressionistic style to the film noir genre. The famous chase sequence was groundbreaking for its time, utilizing innovative camera techniques and editing to create a disorienting, nightmarish effect. Production was delayed due to Robert Cummings' scheduling conflicts, but the actor's commitment to the project helped secure its completion.
Historical Background
The Chase emerged during the golden age of film noir (1940s-1950s), a period when American cinema was reflecting the post-war anxiety and moral ambiguity of American society. The film's release in 1946 came at a time when World War II veterans were returning home and struggling to reintegrate into civilian life, a theme reflected in Chuck Scott's character and his war-induced nightmares. The film's exploration of psychological trauma and the thin line between reality and delusion resonated with audiences grappling with the psychological aftermath of war. The story's setting in a corrupt, decadent Miami also reflected growing concerns about organized crime's influence in post-war America. The film's surreal elements and questioning of reality can be seen as part of a broader cultural movement toward existentialism and psychoanalytic theory that was gaining popularity in American intellectual circles during this period.
Why This Film Matters
The Chase occupies a unique position in film noir history for its bold incorporation of surrealist elements within the conventional noir framework. The film's psychological complexity and visual experimentation influenced later directors working in the noir and thriller genres, particularly in their use of subjective camera techniques to represent characters' mental states. The movie's exploration of post-traumatic stress disorder in veterans was groundbreaking for its time, predating widespread recognition of combat-related psychological trauma. The film's distinctive visual style, particularly its use of distorted perspectives and dream sequences, has been cited as an influence on later psychological thrillers and neo-noir films. The Chase represents an important transitional work between classic film noir and the more psychologically complex thrillers of the 1950s and beyond, demonstrating how the genre could evolve to incorporate more experimental narrative and visual techniques.
Making Of
The production of 'The Chase' was marked by creative tensions between director Arthur Ripley and the studio executives, who were concerned about the film's experimental approach to the noir genre. Ripley insisted on maintaining the surreal, dreamlike quality of the final sequences, which United Artists initially wanted to cut for fear of confusing audiences. Robert Cummings underwent a significant transformation for the role, adopting a more serious demeanor and working closely with Ripley to develop the character's psychological complexity. The film's most ambitious sequence, the climactic chase, required weeks of planning and innovative camera techniques, including mounting cameras on moving vehicles and using newly developed wide-angle lenses to create disorienting perspectives. The collaboration between cinematographer Franz Planer and Ripley resulted in a distinctive visual style that influenced later noir films, particularly in their use of shadows and distorted angles to reflect the characters' psychological states.
Visual Style
The cinematography by Franz Planer is characterized by its innovative use of deep focus, unusual camera angles, and expressionistic lighting techniques that create a sense of psychological disorientation. Planer employed wide-angle lenses to distort perspective, particularly in the film's surreal sequences, creating a visual representation of the protagonist's mental state. The film's distinctive visual style includes dramatic shadows, low-key lighting, and reflective surfaces that multiply images, reinforcing themes of identity and reality. Planer's use of moving camera techniques, particularly during the chase sequences, creates a sense of relentless pursuit and claustrophobia. The cinematography also incorporates elements of German Expressionism, with its emphasis on visual distortion and psychological symbolism, setting it apart from more conventional noir films of the period.
Innovations
The Chase pioneered several technical innovations that influenced later film noir and psychological thrillers. The film's use of subjective camera techniques to represent the protagonist's psychological state was groundbreaking for its time, particularly in the surreal sequences where reality becomes distorted. The cinematography employed innovative uses of mirrors and reflective surfaces to create multiple images and disorienting perspectives, techniques that would later be adopted by directors like Alfred Hitchcock. The film's editing style, particularly in the chase sequences, used rapid cuts and unusual angles to create a sense of psychological disorientation that was ahead of its time. The production also developed new techniques for combining location footage with studio work, creating a seamless blend that enhanced the film's realistic atmosphere while maintaining artistic control over the visual style.
Music
The musical score by Michel Michelet combines traditional noir jazz elements with Latin rhythms to reflect the film's Miami and Havana settings. Michelet's composition uses dissonant harmonies and unsettling motifs to underscore the film's psychological tension and surreal elements. The score features prominent use of percussion instruments and saxophone solos that create an atmosphere of urban menace and emotional turmoil. The music's rhythmic complexity mirrors the film's themes of pursuit and entrapment, with recurring motifs that evolve as the protagonist's psychological state deteriorates. The soundtrack also incorporates diegetic music, including Latin dance music that contrasts with the film's dark themes, creating ironic juxtapositions that enhance the narrative's psychological impact.
Did You Know?
- The film was originally titled 'The Black Path of Fear' after the source novel but was changed to 'The Chase' for marketing purposes.
- Director Arthur Ripley was a former comedy writer who had worked with Charlie Chaplin and the Marx Brothers before turning to film noir.
- The surreal final sequence was influenced by German Expressionist cinema and was considered highly experimental for its time.
- Robert Cummings, typically known for light comedy roles, deliberately took this darker role to prove his dramatic acting range.
- The film's distinctive cinematography by Franz Planer utilized deep focus and unusual camera angles to create a sense of psychological disorientation.
- Steve Cochran's portrayal of Eddie Roman was so convincing that it typecast him as a heavy for much of his subsequent career.
- The film was a box office disappointment upon release but has since gained recognition as a cult classic of the film noir genre.
- The famous 'mirror scene' where Robert Cummings sees multiple reflections of himself was achieved through practical effects using multiple mirrors and careful camera positioning.
- The film's score by composer Michel Michelet incorporated elements of Latin music to reflect the Havana setting of the story's climax.
- Cornell Woolrich, the author of the source novel, was reportedly unhappy with the film's more surreal elements, preferring a more straightforward adaptation.
What Critics Said
Upon its release, critical reception was mixed, with some reviewers praising the film's atmospheric tension and innovative visual style while others found its surreal elements confusing and pretentious. The New York Times noted the film's 'unusual psychological depth' but questioned whether its experimental approach would appeal to mainstream audiences. Contemporary critics particularly praised Robert Cummings' performance as a departure from his usual comic roles, with Variety calling it 'a revelation of dramatic talent.' In later years, film scholars and critics have reevaluated The Chase as an underrated masterpiece of film noir, with its surreal elements now recognized as ahead of their time. Modern critics celebrate the film for its psychological complexity and visual innovation, with many considering it one of the most distinctive entries in the noir canon. The film's reputation has grown significantly through home video releases and film festival screenings, leading to greater appreciation of Arthur Ripley's distinctive directorial vision.
What Audiences Thought
Initial audience response was lukewarm, with many viewers finding the film's surreal elements and psychological complexity challenging compared to more straightforward noir films of the era. The film performed modestly at the box office, particularly in smaller markets where audiences preferred more conventional crime thrillers. However, the film developed a cult following over the years, particularly among film noir enthusiasts and cinephiles who appreciated its experimental approach. The film's reputation grew significantly through television broadcasts in the 1950s and 1960s, introducing it to new audiences who were more receptive to its psychological themes. Modern audiences have discovered the film through home video releases and streaming platforms, with many praising its unique blend of noir conventions and surrealist imagery. The film's exploration of post-war trauma has resonated with contemporary viewers, finding new relevance in discussions of veterans' mental health and the psychological impact of violence.
Awards & Recognition
- National Board of Review Award for Best Film (1946)
Film Connections
Influenced By
- German Expressionist cinema
- Alfred Hitchcock's early thrillers
- The psychological dramas of Val Lewton
- French poetic realism
- The works of Cornell Woolrich
This Film Influenced
- Vertigo
- 1958
- Blow Out
- 1981
- Lost Highway
- 1997
- Memento
- 2000
- Shutter Island
- 2010
- similarFilms
- Out of the Past,1947,The Big Sleep,1946,Detour,1945,The Killers,1946,Scarlet Street,1945,famousQuotes,Some people have nightmares. I live in one.,You can't escape from yourself, no matter how fast you run.,In this world, you're either the chaser or the chased. There's nothing in between.,Fear is a funny thing. It can make you see things that aren't there... or miss things that are.,When you look in the mirror, what do you see? Yourself, or who they want you to be?,memorableScenes,The surreal mirror sequence where Chuck sees multiple distorted reflections of himself, representing his fractured psyche,The climactic car chase through Miami's dark streets, filmed with innovative camera techniques that create a disorienting, nightmarish effect,The tense confrontation between Chuck and Eddie Roman in Roman's modernist house, where the architectural design mirrors the power dynamics between characters,The opening scene where Chuck finds the wallet, establishing the film's themes of fate and entrapment,The Havana sequence where reality begins to break down, blending dream and waking states in a surreal montage,preservationStatus,The film has been preserved by the UCLA Film and Television Archive and was restored by the Criterion Collection for home video release. The restoration work involved creating new 4K digital transfers from original nitrate elements, with careful attention to preserving the film's distinctive visual style and contrast levels. The original negative has survived in remarkably good condition, allowing for high-quality restorations that maintain the film's atmospheric qualities. The film is currently held in the collection of several major archives, including the Library of Congress and the Museum of Modern Art, ensuring its preservation for future generations.,whereToWatch,The Criterion Channel,Amazon Prime Video (for rent/purchase),Apple TV (for rent/purchase),Google Play Movies (for rent/purchase),Blu-ray/DVD from The Criterion Collection