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Like his debut as director, night lovers , The house has a shadow John Houseman as a producer. A man who produced works like the Beautiful bad (1952), The Lust (1956) and Two Weeks in Another Town (1962), all of Vincente Minnelli, Letter from an Unknown Woman (1948, Max Ophüls), Julio César (Joseph L. Mankiewicz, 1953) or Smugglers Moonfleet (Fritz Lang, 1955).
In 1959, Nicholas Ray read the novel Mad With Much Heart, Gerald Butler, and was attracted to her, the concept of police patrolling the streets to end violence while carrying, however, that same violence within themselves same. Ray Houseman proposed to his film adaptation, but he did not share his enthusiasm. However, could bring to fruition thanks to his tenacity and perseverance that can not be considered to On Dangerous Ground as a mere custom of study.
In just 80 minutes Ray breaks the initial expectations of being in a film noir canonical he cares less about the political intrigues of the resolution of the murder of a girl who the main character's moral journey. The shade house is a short movie 2. Two opposing worlds and visually incompatible: the urban world, night, dominated by black and all shades of gray, and rural, day, illuminated by the glow clear of snow. Jim Wilson (Robert Ryan), the sullen and embittered police officer is banished from the city for their violent methods and the people he goes to solve a case, will be his place of redemption, which will regain the dignity, love of a blind woman. All in less than 4 nights, filmed by Ray with the urgency and lyricism that characterized him and a narrative economy in which everything is essential, nothing is superfluous.
The film opens splendidly. In the opening sequence introduces us to the police daily ritual of getting ready at home to start their night patrol. It introduces us to the tone that this segment will be urban, gritty tone portrait documentary of police work alone, violent, they spread bitterness in their eyes and their actions. In Part 2, which takes place in a bleak snow-covered mountainous area always, the melodrama is gaining strength through images of a desperate and sordid romantic lyricism. According to Jean Wagner
" is probably the most unusual film of Nicholas Ray directed and how many at the same time, one of the most personal, as no other filmmaker could have signed."
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