William Wyler's cinematic adaptation of Sidney Knigsley's play depicts life within one day in the 21st police precinct in NYC, our hero is detective Jim McLeod (Douglas), who has an absolute abhorrence of criminals, even for a first-time embezzler Arthur (Hill), a well-behaved young man who conducted the act out of desperation to buy an expensive dinner for his sweetheart. Jim has been fervently intent on bringing an evil doctor Karl Schneider (Macready) to legal penalties. When Karl's key-witness is bribed and another victim is dead in the hospital, Jim batters Karl out of rage, then when Karl's attorney Sims (Anderson) mentions Mary (Parker), Jim's wife's name, it prompts Lt. Monaghan (McMahon) to arrange a secret meeting with Mary, to find out what is the link between her and Dr. Schneider, which could be the reason of Jim's steely determination.Mary's past is inevitably exposed, not just to the others, but also to Jim, their perfect marriage begins to rupture, yet the culprit it is Jim's own jaundiced viewpoints and the typical male- chauvinistic pride, his entire belief system is challenged, and soon he will realise he is just turning into the figure he detests the most, his father, this is a destructive epiphany, when he has nothing to lose, he has seized a dangerous situation to be a martyr, the same fate like Douglas in ACE IN THE HOLE (1951), but more tragic, since he is a lawman himself, fighting for justice all his life, yet he cannot run away from his deep-seated prejudice and the most dreadful fear, this is the might of an intelligent play, the salvation is forthcoming but bravely against the grain of its time.The film is generally considered as a film-noir oeuvre, but with its confined setting, and the cornucopian assortments of police officers, offenders, and other players (lawyer, witness, and citizens), it stands out as an ensemble piece with a sounding character development arc of Jim McLeod, imprints for Douglas' iconic hard-bitten screen image. Parker is nominated for a BEST LEADING ACTRESS Oscar although her entire screen-time is a little over 20-minutes, a record- holder until today, she is supporting in my book, but it is a poignant achievement, in spite of the sexist quagmire of her character, she is a stunning beauty with a tint of modesty, a wise decision- maker, steers clear of a miserable marriage and Ms. Parker is a marvel in it.This film is also Lee Grant's film debut, which won her the first Oscar nomination as the unnamed shoplifter (a reprise of her role in the play), a comic relief throughout the various happenings in the police station, so out of the place with the rest of the gang, but that's why she is so special although her role has nothing substantial to the plot. Basically, all the supporting character actors are recommendable, thanks to Wyler's down-to-earth approach to offer everyone copious room to act, a must-see.

What is someone supposed to do when he realizes that he has been living a lie? That everything he values is a fraud? These are the questions that this story raises. Kirk Douglas gives another incredibly strong and compelling performance, this time as a police detective whose arrogance and pride blocks him from realizing the realities and shortcomings of his own life. The story is a tragedy. The principle character has many virtues but is brought down by his character flaws. He is on a personal crusade, not knowing, or refusing to acknowledge, the real target of his scorn. To face the truth would mean to question the purpose of his life, and whether his life his worth living. The production is stagy, the story a little contrived, but Kirk Douglas and the rest of the cast, including Eleanor Parker, manage to transcend those limitations and deliver performances that galvanize the story and keep the audience engaged. This movie is outstanding.

Cutting edge for its time. Events never really leave the station house in what's supposed to be typical day for the detectives. More importantly, the cops bear little resemblance to Dragnet's fast-talking (1951-59) Joe Friday, which came along at about the same time. The movie's a clear attempt to inject more realism than usual into urban policing. The characters come and go as expected in a city station house. By and large, the cops are reasonably efficient but none too friendly as could also be expected. On the other hand, the arrestees range from a helpless shoplifter to savvy thieves to a big time doctor with influence.Of course, the drama centers on Detective McLeod (Douglas) who's got personal problems that mean not giving suspects an inch, no matter how sympathetic they might be. Surprising for the time are hints of his sometimes brutality in treatment of prisoners. Also unusual are circumspect hints that Dr. Schneider (MacReady) is an abortionist grown wealthy from his practice. Both topics were generally shunned by Production Code Hollywood in the Code's effort to protect audiences from reality.Can't help noticing the movie features two of Hollywood's sweetest innocents, Cathy O'Donnell and Lee Grant. O'Donnell is again redeeming a heck-bent boyfriend as in the transcendent They Live By Night (1948), while Grant registers as the helplessly naïve shoplifter, shortly before being blacklisted. I guess my one reservation is with the contrived nature of Douglas's histrionic downfall. It's theatrical nature contrasts strongly with the film's generally low-key realistic approach. Nonetheless, Wyler keeps things moving on the single set, while the characters continue to hold audience interest. The movie may have lost much of its edge over time. Still, the characters remain cross-generational in their appeal.

I'm 55 years old and I watched this film for the first time tonight, and ... well the title says it: Powerful, claustrophobic, intense, this is definitely 100 minutes you won't regret; and it could only ever have been done in black-and-white.Kirk Douglas is given reign to do what he does best without ever quite going overboard (as he was apt to do later on) and he's wonderfully supported by a cast that act out of their skins; particularly Horace McMahon, who I'd never heard of before watching this, but I'll be looking out for now, and a very young Lee Grant - probably more familiar to most as catch-all guest star of many 70's TV shows - who is almost unrecognisable in her role as the shoplifter/onlooker.Bendix, Parker, Wiseman, O'Donnell, Mohr... there are too many to list, but each plays their part to the hilt, and the result is a film-noir tale of the highest order. Yes, it has the feel of a play, and it might be difficult for younger viewers to understand the mores of the time; but it suspended my disbelief almost from the first frame and held it to the last.This is ensemble acting at its best, and if, like me, you somehow missed it along the way: go get a copy.