lchadbou-326-26592 The HD copy of Highway 301 currently available through Warner Archive is a special treat for those who appreciate noir cinematography. The picture starts off with location footage of Winston Salem, North Carolina, one of the three states in which our gang of robbers moves back and forth. (In the intro which precedes the opening bank heist, the real governors at the time of North Carolina, Maryland, and Virginia attest to the ominousness of these fact-based exploits, one of them even describing them as "criminal terrorism.") But after another heist, this one of a railway express truck where the stolen money turns out to be cut - gang leader Steve Cochran later describes it as "shredded wheat"- the last part of the film turns into more of a studio bound, moodily photographed exercise in noir style. The first such scene shows Cochran trying to escape from cops, after his partner has been shot, through the dark, wet streets. The second, especially exciting scene shows the French-Canadian wife (Gaby Andre) of one of the other crooks (Robert Webber) fleeing through a park at night,to escape Cochran who she suspects will kill her because she knows too much- she lands up getting into a cab which turns out to be driven by Cochran! The film climaxes in a tense hospital episode where another of the gang women (especially well played by the underrated Virginia Grey) pretends to be a reporter, so she can scope out the setup where Andre, shot earlier by Cochran, is hidden and the gang can finish the victim off, she almost fools the police sergeant. Carl Guthrie's lensing of these three sequences along with Andrew Stone's writing and direction make of this seemingly ordinary crime picture something memorable.

LeonLouisRicci Here Come the 1950's and There Goes Film-Noir or at Least there is an "Evolution" of the Noir Sensibilities. Hollywood Now Seems to have been Pressured into Cleaning Up Their Act, or Pretending to be On Board with Pro-Post-War Conservatism.The Government, Law Enforcement and J. Edgar Hoover were Infiltrating Every Aspect of American Life (sound familiar Today), Dictating Mores and Clean Living (for the Proletariat that is but not for that Hypocrite Hoover). The HUAC Hubris is On the Horizon.So the Film Opens with Big Brother State Governors Reading Cue Cards about the Folly of Crime and it Doesn't Pay and All of That. Then Director Andrew Stone Seems to be Saying OK now that's Out of the Way, and Let's Loose with Some Gritty Up Close and Personal Violence. In Fact One Such Shooting of a Female Gang Moll is Point Blank and that is Dialoged About Afterwards and No One can Figure Out How She Survived.The Movie Clips Along at a Rapid Pace and there is Much Suspense and Action with a Finale that has a Guns Blazing Car Chase that Ends with a Speeding Train that is Quite Startling. Steve Cochran Steals the Show as the Gang Leader and gets Good Support from Everyone Else. Overall, an Above Average and Forgotten Crime Noir that is Stylish, Brutal, and Nasty. It is a LIttle Known Movie that is Highly Recommended.

dougdoepke A criminal gang gains a cross-state reputation for big-time robberies.Looks like Warner Bros. was trying to repeat the success of White Heat (1949) from the year before. This movie's got plenty of action, plus snarling bad guy Cochran, and a capable cast even if stuck in one-dimensional roles. All in all, it's a decent slice of thick-ear, but a long way from a classic like Heat. Trouble here is that the staging goes from location style realism in the first half to studio bound noir in the second, a rather awkward adjustment. On one hand, I suspect the first half was to underline the prologue of the three state governors. On the other, noir is clearly artifice and calls attention to mood as well as story. Then too, French import Andre's role grafts on like a studio effort at career promotion. She does okay, but the role is like an add-on. And dare I say it, but the climax is way overdrawn, as if they're intent on milking the situation dry. After all, impact doesn't have to depend on length. None of this is to deny the many moments of real suspense that dot the movie as a whole. I especially like the cat and mouse between cop Ryan and gang girl Grey. It's a peach of acting and scripting. It's also probably worth noting that the epilogue is harshly law and order, at a time when Hollywood's social direction was largely reformist, e.g. Caged (1950), Riot in Cell Block 11 (1953). Anyway, if you don't mind your gunfire and melodramatics slathered on, this is a movie to catch.

madmonkmcghee This is a Public Service picture thinly disguised as a crime movie, and a very poor one too. You know you're in trouble when three, count 'em three governors get to pound the message home that Crime Does Not Pay. Except in politics, i guess.Man, those HUAC hearings must have really scared Jack Warner silly to produce such lame law and order tripe as this movie. It's clear from the get-go that these gangsters are basically two-bit crooks, cowards who hit women and on a one way trip to the death house. Movies like this are only of interest as a scary example of Fifties government propaganda. "Kids, these guys may look cool, but look how mean and stupid they are. I'm sure you'd all much rather be a stuffed shirt like the clever cops who are way smarter than those no-good goons. Now eat your greens and go do your homework!" I'm sure J. Edgar "What's the Mafia?" Hoover gave this his Seal of Approval. Forgettable and frightening Fifties fare.