This Samuel Fuller Film (Writer-Director-Producer) falls in the "No Man's Land" of Film-Noir where Neo-Noir was being Considered as an Updated Handle and the 1955-58 Time-Span that most Consider the End of the First Cycle.But like the Definition of "Film-Noir" these Things are Fuzzy, Ambiguous, and Opinionated. Playing with Time-Lines, Firsts and Lasts, and Pigeon Holes is Fun but Ultimately Unsolvable.Fuller is an Auteur Personified. His Films are Stamped or more Accurately Seared with the Fuller Brand. Pulpy, Low-Brow Writing that is Far from Fancy and In Your Face with its Unpretentious Plotting, Names, and a Visual Style that is Stark, Staring Mad.Subtlety in a Sam Fuller Film is in Short Supply. He is Direct and Slaps the Viewer Up Side the Head with His Stories about Big Things and His Philosophical Take about Rough, Violent, and Uncaring Monsters that take Advantage of the most Vulnerable.It's Not Enough for Fuller to make a Statement about Harmful Drug Dealers, He has to Hammer Home that They are Dealing to Children ages 10-15.There is even one Scene where a Child is Brutally Murdered On Screen. You won't See that in a Hollywood Movie from the Period. There are many Things in this and other Sam Fuller Movies that were "Verboten" by the Mainstream.The Cast Lead by Cliff Robertson and Features Dolores Dorn as "Cuddles", and Beatrice Kay as "Sandy" all do Great Work in this Low-Budget Production.Richard Rust is also a Standout as a Heartless Hit Man that Pre-Dates Don Siegel's Marvin/Gallagher Duo of Sun-Glassed Goons in "The Killers" (1964). Rust even looks like Glu Gallagher and Acts just as Cold.Overall, Cutting-Edge Grind-House Stuff from a Master Maverick Movie Maker. If it's a Sam Fuller Film it is Worth a Watch. All of His Movies Sizzle.

I had seen this movie only once before, and that was 20 years ago. A lot of the concerns of his masterpiece, "The Naked Kiss," are addressed in it. In some ways, it's more horrifying because it is about what it says it's about: the underworld and, more to the point, the USA. "The Naked Kiss" is, to me, a great movie and also a parable.(As to Fuller's "best": In terms of polish, it's probably "Pickup on South Street." That movie has most of his eccentricities but uses major stars and is suspenseful and exciting.) Cliff Robertson does a fine job here as the single-minded man out to avenge his father's killing. Dolores Dorn is touching as the girl from the underworld with whom he becomes involved.The supporting cast could scarcely be better. Paul Duboy is perfect as the slimy Gelo. Richard Rust is shockingly effective as the underworld henchman.But Beatrice Kay is the standout. She plays the tough female who almost always appears in Fuller's films. (Thelma Ritter's Mo, in "Pickup on South Street, is the most poignant.) We believe that this gal is tough. We also believe that she has a soft side.When I was too young to appreciate it, an older friend gave me a paperback book about actresses in b-movies, called "Dames." On the cover is a shot from this film: Dorn and Kay are leaning on each other. Kay looks tough as a guard dog and Dorn has bandages over one eye.The movie is filled with Fuller's most important concerns: At one point, a rooftop swimming pool is pointed out. It is, one character tells another, for the fat cats -- and now and then for underprivileged children. The hypocrisy of some so-called charity is addressed here. So is Fuller's concern for the well-being of children.I don't think this is out on DVD. You need to find it on VHS. It's absolutely a must.

Sam Fuller seems to have spared all expense with this low-budget indy which is glaringly short on people and automobiles for a contemporary urban mob film.As a teen Tolly Devlin witnesses his father being beat to death in an alley. Swearing vengeance on all involved he does a bid in a reformatory before graduating to the state pen where he sadistically offs his first victim. Upon release he falls for a dame, dupes a police inspector and exacts revenge on the drug pushing scum now living the high life as respectable citizens.Part of my enjoyment of watching a Fuller film is the way he stretches his budget. A low ratio of filmed takes can contribute to inconsistent performances that suffer from his occasional prosaic and stilted dialogue which is the case with Underworld. The Desilu style sets look like they were borrowed without permission after everyone went home and some of the props in the commissioner's office look like some of Fuller's "Big Red One war memorabilia from his den. He can't afford major stars but Cliff Robertson gives a highly credible performance as Devlin and its nice to see perennial minor character actor Robert Emhardt in a more substantial role as the mob kingpin.It is for his tenacity to see his vision through with near complete independence that I am willing to cut Fuller some slack but in Underworld USA he gets sloppy with his editing and montage and his pacing becomes erratic in an environment that's glaringly artificial. It deserves to be whacked.

Make no mistake, I do recognize that Roger Corman has put out more crap than anybody else out there, but her is the fundamental differance between him and Fuller. Fuller actually writes and directs good films. And I'm not talking about cheesy good pictures, but actually good that if they were made by any more well know director, would be hailed as brillient. Underworld USA is no exception. Fuller takes a simple story and makes it an interesting piece of drama. Personally I would classify this as a film noir, but due to the whole debate of the existence of film noir, I'll call this a drama or neo nior. Anyway, beautiful cinematography as always great script, and good direction. Could have had some better acting, but when you are working on super low budget, and only have 10-15 days to make a film, there are going to be some natural sacrifices. Anyway, must see for Fuller fans.