Word: raws
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...people noticed it at the time, but in 1947 Mann vaulted from nowhere to the top rank of directors. His filmography seems to explode, with movies as lurid and paranoid as their names. Desperate. Raw Deal. Railroaded! Great pulp titles, suitable for a trashy paperback, though they were all original screen stories. (The studios Mann worked for couldn't afford to option novels or plays; their writers had to make it up as they went along...
...following year Mann made Raw Deal, which dispensing with heroes altogether. There are only victims and villains, and it's often not easy to tell them apart. A guy named Joe (Dennis O'Keefe) has been wrongly imprisoned, fingered by his old pals. He breaks out of prison and goes on the run with two gals, a nice social worker, Ann (Marsha Hunt), whom he takes as a hostage, and a tough gal, Pat (Claire Trevor), who helped spring him from stir. Both are doomed to be in love with...
...Desperate and Railroaded! have no past to haunt them. The present is spooky enough. Like their movies, they exist in the now. They are what they do, and what is done to them: existential unheroes. Only rarely do they blame society for their scrappy status, as Joe does in Raw Deal: "And if you want to know what happened to that kid with the medal - he had to hock it at 16. He got hungry." The war, the defining event of the '40s, may be a given, but it's not expressed. What is explicit is the violence the American...
...John C. Higgins wrote or co-wrote the five noirish procedurals - Railroaded!, T-Men, Raw Deal, He Walked by Night and Border Incident - that lifted Mann from the bondage of B-minus musicals, got him hired by a major studio (the major, MGM) and form the bedrock of his current furtive eminence. Higgins had written several Crime Does Not Pay docudrama shorts for MGM in the '30s. And when the police-procedural docudrama became a popular feature-length genre in 1945 with the success of The House on 92nd Street (produced by Louis de Rochemont, who had fashioned miniature versions...
...Essentially what they do is take the footage they watch, write outlines and treatments and put together a script that has primary and secondary characters," says Writer's Guild spokesman Gabriel Scott. "They build the narrative out of hundreds of hours of raw footage. America's Next Top Model is the highest-rated reality show and the flagship program for a new network. And here the writers don' t get the benefits that the editors and Tyra Banks get." Guild officials point out that reality writers don't accrue the portable pension and other benefits that a writer of West...