The Trap (AKA: The Baited Trap) is directed by Norman Panama who also co-writes the screenplay with Richard Alan Simmons. It stars Richard Widmark, Lee J. Cobb, Tina Louise, Earl Holliman and Lorne Greene. Music is by Irvin Talbot and cinematography by Daniel L. Fapp.Tula Torments.Tula, California and Ralph Anderson (Widmark) has returned home under a cloud. He's been a lawyer for mob boss Victor Massonetti (Cobb) and needs to fulfil a favour to get Massonetti out of the country. Unfortunately the law in Tula comprises of his father and brother, the former still angry at Ralph for a youthful misdemeanour, the latter an alcoholic married to Ralph's childhood sweetheart. It's a recipe for disaster...A Technicolor action/thriller that has somehow found its way into some film noir reference books, The Trap should just be viewed as belonging to the former genre titles. Which is fine, especially since it's grand entertainment. Essentially it's a play on the good narrative device of a good man who has done something he's not proud of, but is now desperately trying to make amends. Surrounding him is a fractured family dynamic, a romantic attachment that hurts his very being, and the small matter of some very bad dudes after the quarry in his charge - and thus also his blood!The story throws up a number of surprises to further beef up the psychological broth, emotions are pulled all over the place, while death is a constant threat to keep things on the high heat. There's plenty of sweat and steam, boozing and brooding, neuroticism and nastiness, there's nary a dull moment in the whole play. All of which leads to a genuinely surprising and moving finale. The cast all turn in effective character portrayals, feeding off of one and other to make the picture achieve all it can. The sound stage aspects of the shoot are irksome, with the main painted backdrop particularly looking fake, which is a shame as the genuine exterior photography by Fapp is gorgeous.Small irks aside, this is a meaty hybrid piece out of Paramount and highly recommended to fans of the stars and such genre fare. 8/10

I stumbled upon this movie at my local library, and I decided to take a chance on it with no previous knowledge about it. On the whole, I found the movie to be fairly satisfying. At just eighty four minutes in length, the whole package runs smoothly and with no dead spots, and there is some genuine excitement and tension here and there. The cast also does a pretty good job in their roles. Most interesting, even though the movie's ending is to a degree predictable (this was made during the Production Code era, after all), I was surprised that to a larger degree the movie ended on quite a sad note; you could sense that the Widmark character had some deep guilt in his bringing trouble to his former home town.The movie is good, but could have been better. There are some unanswered questions and things that don't make some sense. For example: Wouldn't the Widmark character know what the area around the town he grew up in would be like? After killing the first deputy, why didn't the bad guys then kill Widmark and the others when they stumbled upon the deputy's body? And how did the bad guys know to grab and hold hostage the Tina Louise character? These and other nagging questions do hurt the movie to a degree. It's probably best to hold off watching the movie until you are in a forgiving mood.

A twisted family plot about one son who leaves his small California desert town and becomes a lawyer for the mob, and the other, who remains and follows in his father's footsteps to become a sheriff's deputy in the same town, and who meet again when brother number one returns with a fleeing mob boss and his bodyguards, who are attempting to help him escape into Mexico via a desert airstrip. Between them (the two brothers) aside from being on opposite sides of the law, is a woman who is now married to the deputy but who was with the other brother before he left town. And the father, the town sheriff, is a by-the-book character who resents the one son for leaving and the other for his personal weaknesses, especially his drinking. Along comes the mob boss and his boys into the desert town, and all hell breaks loose, leading to the film's finale, a scenic cat and mouse chase through the desert. Widmark's character turns out to be not bad at all, as he's shown to be really a good guy at heart, and contrasts with the corrupted mob figures whom he ultimately battles. Earl Holliman, as the other brother, plays the tragic part, a marriage (Tina Louise as his wife) that turns out to be a farce, and a job that's his only due to the influence of his father (sheriff Carl Benton Reid), a man who has zero respect for him.

The Trap is an independent film produced by star Richard Widmark which sad to say doesn't get broadcast often enough.Widmark plays a mob attorney who goes to his former hole in the wall one horse town where his stern father Carl Benton Reid and jealous younger brother Earl Holliman are sheriff and deputy. Widmark is hoping to get his family to help big time mobster Lee J. Cobb escape to Mexico.Dad doesn't prove amenable to helping a son he despises for whom he works for. He even likes the weak and vacillating Earl Holliman more than Widmark.When the plan blows up and Widmark realizes it's brought about the destruction of his family he resolves to bring Cobb in. But it proves to be a daunting task.Cobb essentially repeats the roles he had as mobsters in On the Waterfront and Party Girl. He doesn't break any new ground, but he's always fascinating to watch.Holliman has the best role in The Trap. He's married to Tina Louise who Widmark abandoned when he left their town. Holliman always has known he was less than a second choice husband and his resentment crackles throughout his performance.I wish that The Trap was broadcast more often. Maybe it will be seen on a Richard Widmark retrospective if that man ever gets his long deserved lifetime achievement award.