With a poll coming up on IMDb's Classic Film board for the best titles of 1954,I started to search around for near-forgotten Film Noirs to view.With having heard about lead actor Anthony Quinn,I was thrilled to stumble up on a title,which would hopefully make the long wait I've had of seeing Quinn on screen something that was worth waiting for.The plot:Hitch-hiking Johnny McBride gets a lift from a driver,who ends up crashing his car and leaving McBride in a coma for 2 years.2 Years later:Waking up from the coma McBride discovers that along with his finger prints having been burnt off in the crash,that he is also suffering from amnesia,with any type of ID that McBride owned having been burnt in the crash.Walking out of hospital at last,McBride starts attempting to put his life back together.Meeting 2 people who claim to be friends,McBride is told to go to a small town,due to a shop in the area having a photo of him.Unknown to McBride,the 2 friends are actually people who want to claim a reward over McBride being linked to a bank robbery and a murder.Reaching the town,McBride soon run into 2 police officers who arrest him for murder.With their main piece of evidence being the finger prints on a gun that McBride used to rob a bank that he worked at,the cops are horrified to discover,that all of McBride's finger prints have been burnt off.Horrified by the allegations,McBride decides that he has waited long enough to start search around the city's underground,in the hope of uncovering his long forgotten past.View on the film:For their adaptation of Mickey Spillane's novel,writers Alan Green and Lesser Samuels smartly keep the audiences unrevealing of the past at the same distance that McBride is heading towards,which allow for each of the films sharp twist & turns to strike the viewer with the same shock that they hit McBride with.Whilst the ending is disappointingly up- beat,for the rest of the running time,the writers create a wonderfully grim Film Noir world.Giving some strong hints that McBride has shell shock from serving time in the war as he obsessively searches for his near-mythical dame,the writers paint the world that McBride attempts to remember as one that's rotten to the core,as McBride discovers to his horror that he may be linked to an underworld which has got a firm grip on the entire city.Wrapping the city in shadows as McBride goes in search of his past, director Victor Saville and cinematographer Franz Planer build an atmospheric city which is covered in dirt,with Savile and Planer making every street look like it has been infected with the characters morals,as each building appears to be rotting away.Along with the filthy Film Noir streets,Savile and Planer cake McBride's (played by an amazing,rough Anthony Quinn) in sweat,which drips across the floor as he delves deeper into the underbelly of the city and uncovers the past which he has long waited to find.

Mickey Spillane was far better than what people use to give him credit for. His tough guys and sexy, deadly women gave a new life to the private eye novels of the fifties. This is a surprisingly good, forgotten film directed by Victor Saville, who also directed the famous flop "The Silver Chalice". Also a top cinematographer Franz Planer. The story is about Johnny McBride (Anthony Quinn), a man that lost his memory and also his fingerprints. McBride was involved in stealing 250000 dollars from a bank, together with a woman named Vera, who changed her looks and name. There are two remarkable moments in the film, first when the gangster Servo (Gene Evans) has all four women suspected of being Vera together, and then when the beautiful Venus (Peggy Castle) with long blond hair,tied up, drags herself to kiss McBride. Spillane's characters belong to a fantasy pulp, world and there resides their charm.

A well directed, well photographed little known gem of a film.Great role for Quinn who would have made a great Mike Hammer. His primitive face and huge hands seem prepared for instant violence. In spite of being a low budget film, the directing, acting and photography seems superior than that better known B classic 'Detour'. Gene Evans and Charles Coburn always took their character roles seriously and seemed incapable of bad performances. The lovely ballad that plays over the credits 'Once' is appropriately used throughout the movie and deserves to be a standard. The scene where a bound-up Peggie Castle crawls to a bound-up Quinn (to get her hands on his hidden pistol under pretense of a final kiss) would have made a great paperback cover for a Spillane Novel.

Contemporaneous with the noir cycle came the rise of the cheap paperback, bringing lurid crime novels with provocative cover art to racks in drugstores and bus depots. Spearheading this pulp revolution were the scribbles of Mickey Spillane, several of which became films: I, The Jury; The Long Wait; My Gun Is Quick; and Kiss Me Deadly – the only indispensable title among them.The Long Wait remains anomalous in that Spillane's thuggish protagonist, Mike Hammer, makes no appearance. Anthony Quinn hitches a ride in a car which promptly plunges into a ravine and bursts into flame. In the fire, he loses both his fingerprints and his memory. After two years working in an oil field, he's sent on a wild-goose chase to his home town, unaware that he's wanted for the murder of the District Attorney, who was prosecuting him for embezzling a quarter-million. His cauterized fingertips force the police to release him, but other parties want him dead. But he forges ahead with a two-pronged quest: to vindicate himself, and to find the girl he's told he once loved. She used to be called Vera – shades of Moose Malloy and Velma in Murder, My Sweet (Farewell, My Lovely) – but now she's...somebody else. The four prime candidates for Verahood (Peggie Castle, Mary Ellen Kay, Shawn Smith and Dolores Donlon) become pasteboard targets at which Spillane can spew out his misogynistic venom. They're nothing more than scheming nymphos, throwing themselves at Quinn despite any prior arrangements they've made to insure their kept-women comforts. Inevitably they're terrorized and slapped around. The movie's most visually arresting sequence (thanks to cinematographer Frank, or Franz, Planer) proves also its most sadistic: in an abandoned factory, lit with Expressionistic panache, Castle, bound with rope and under the muzzle of a gun, crawls across the floor to give Quinn a final kiss. Aficionados of film noir must, of course, grapple with the nettlesome problem of the femme fatale, the alluring but heartless Lilith who brings men gladly to ruin. But The Long Wait preserves an unregenerate, macho view of womankind that surpasses the merely dated or distasteful. It's a movie about the corruption of a small city that never questions the corruption of its own vision.