Joseph L. Mankiewicz, "No Way Out" (1950)

For some reason, when I saw the Fox Noir release of No Way Out (1950), I thought that it was the original source for the 1987 movie with Kevin Costner. That turned out to be wildly off-base. It's unfortunate that a mediocre action flick by Roger Donaldson was able to steal the thunder from the classic Joseph L. Mankiewicz film. No doubt most modern film viewers haven't even heard of the latter. Starring Richard Widmark and Sidney Poitier, the 1950 film was a socially progressive, riveting, character-based thriller.

With even a cursory understanding of pre-civil rights era social politics, a viewer might expect that the idea of an African-American doctor treating white patients would be beyond controversial. This is indeed the case as Dr. Luther Brooks (Poitier), after completing his internship, finds himself stationed in the prison ward of a county hospital. There the Biddle brothers are wheeled in for emergency care- both with leg wounds incurred while they were plying their stick-up trade. For some reason one is far worse off than the other, despite the similarity of their injuries. Brooks quickly ascertains that Johnnie Biddle is suffering from a pre-existing malady, and moves quickly to address the problem. When he is unsuccessful, and Johnnie dies- Ray Biddle (played by Widmark) blames the death on Brooks. Ray is an inveterate racist, and vows to take revenge.

Fortunately for Dr. Brooks, he has a support system. Dr. Worden (played by Stephen McNally), the head physician at the hospital, has committed himself to seeing that Brooks negotiates the many challenges of being a pioneer. In addition Brooks has a supportive (if weary) family, including a long-suffering but loving wife. Finally, Brooks will find an unlikely ally in Johnnie Biddle's estranged wife. But that won't happen before Ray Biddle sets in motion a plan of mayhem that results in full-blown race riots.

Remarkably, Mankiewicz was able to make an issue film without completely vilifying its characters (other than the fanatically-bigoted Ray Biddle). I was especially struck by the the hardheaded realism displayed in a conversation between Dr. Worden and the executive administrator of the hospital. The theme of integration is examined in admirably complex terms. Almost sixty years later, film-goers can only hope for a treatment of race relations as intelligent as this one. The director was able to portray the dynamics that keep segregated sections of the lower classes fighting against each other. Meanwhile the flavor of the inner city is dramatically accentuated by the exceptional cinematography of Milton Krasner.

Ultimately the viewer is going to be most struck by the amazing performances of the diametrically opposed leads. Poitier is able to contain both strains of insecurity and quietly-borne nobility simultaneously. The true depths of his pain and inner conflict are notably exposed in his last line of the film (which I choose not to disclose here). This final reveal is so gut-wrenchingly telling that it will surely linger in your head. At the same time, nobody can overshadow Richard Widmark. He is so much fun to watch that it doesn't matter that he's gone completely over-the-top. No one could have played this role like Widmark. His performance alone would justify watching this film. But there are plenty of reasons for multiple viewings.