The Woman on Pier 13 (1950)

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Instant Favorite.

everything you have heard about this movie is true.

While it doesn't offer any answers, it both thrills and makes you think.

Heavy Handed Propaganda that has the Communist Party Monstrously displayed as Pure Evil with a completely Inhuman and Soul Less "Stereotype". No shades of Grey and no concern for Anything or Anyone but the "Party", a term often Repeated in this Screenplay written at the Cusp of the "Mccarthy Era" and the HUAC "Witch Hunt" that would Ironically Indite Hollywood for being "Un-American".This Picture is actually just the Opposite, and uses Film for the most Blatant Anti- Communist Rhetoric found in the "Red Scare" Period coming out of Hollywood.Robert Ryan is Great as a Man trying to Escape His "Depression" and Hide the Fact that He joined the "Party" in His Youth suffering from Broken Dreams and Unemployment. He now has to Cover-Up the Indiscretion, changed His Name, tore up the Communist Card, and has become a Respected Citizen Haunted by the Past and the "Party".Lorraine Day, who figured in the Film's Original Title, "I Married a Communist", Plays the Wife. She is pushed to the Background most of the time as Her Husband fights the Blackmailing Thugs who Threaten Exposure, Intimidation, and Murder.The Third Act is a Dark and Shadowy Nightmarish Visual Vista complete with a Downbeat Ending fitting the most Cynical of Film-Noir. The Ridiculous Display of the "Reds" can be Overlooked because the Movie has so much More to Offer Fans of Noir and Students of Political Manipulation in the Post-War Cycle.

Like "pick up on south street" this is an anti-commies movie to the power of ten .This sinister party ,if we are to believe the screenwriters ,is responsible for three murders (plus a failed one) .The gorgeous woman represents fascism with a nice face ,thus a perfect weapon to indoctrinate green horn such as Ryan's brother -in-law (John Agar)Unlike "invasion of the body snatchers" which could also be considered a metaphorical depiction of communism ,"woman on pier 13" has not worn well ;it's impossible to take this story seriously ;a propaganda flick for conducting a witch hunt;a strange part for highly talented Ryan ,known for his liberal ideas .

I MARRIED A COMMUNIST (aka THE WOMAN ON PIER 13) is a thoroughly reprehensible noir, wherein the "Communist menace" is depicted as a well-organized cabal of murderous agitators on the San Francisco waterfront, headed up by Thomas Gomez. The always-solid Robert Ryan stoops just as low as Gomez does by playing a "reformed" Commie who gets sucked back into the Party in order to do dirty deeds at the docks.One has to wonder just how much power Howard Hughes, who reputedly would "test" RKO contract players' loyalty by trying to get them to make this film, really held over his charges. After all, Ryan surely cringed his way through the production considering he was running roughshod over his own strong political views, and Gomez had only a year earlier brilliantly portrayed a small-time mobster with a conscience in Polonsky's FORCE OF EVIL.But the film holds sway over the viewer in large part due to the brilliant Nicholas Musaraca cinematography, filled with inky black shadows and harsh angles, and a crackling pace which almost makes you forget what tripe you are listening to. And as noted above, at least the Commies are depicted as intellectuals who throw interesting parties (and have Cubist art on the walls), even while they're faking suicides and throwing tied up people into the San Francisco Bay.

RKO studio was making some terrific noir films during the late 40's and used that same formula in this 1950 thriller. The problem with the film arises because of the Red scare propagated by Senator Joseph McCarthy who saw "commies" behind every tree. The Red scare theme dates the story to the point that it is almost embarrassing........but it is still worth seeing.Robert Ryan, who was such a powerful actor, stars as a successful man who once was a Communist, lured by his then-mistress, played by Janis Carter. He has now moved on with his life, married to Laraine Day and has learned to love the "American way". Trouble rears its ugly head as labor union troubles bring his old cronies out of the woodwork and the fun begins.This film played on the fears of 1950's audiences and it is hard to relate to those feelings now; however, the craftsmanship of the film is quite good and the players are up to their usual standards. Of course, the exception is John Agar,who as always is bad, bad, bad. So for a look at another time when people built bomb shelters and suspected their neighbors of being "fellow travelers", take a gander at this film. It's a time capsule unto itself.