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Thieves' Highway

Thieves' Highway

Drama · Crime · Thriller · 1949

Nick Garcos comes back from his tour of duty in World War II planning to settle down with his girlfriend, Polly Faber. He learns, however, that his father was recently beaten and burglarized by mob-connected trucker Mike Figlia, and Nick resolves to get even. He partners with prostitute Rica, and together they go after Mike, all the while getting pulled further into the local crime underworld.

Movie details

Thieves' Highway

“You Need a Friend, Strong Man, - And I'm Friendly!”

1949 Drama · Crime · Thriller 1h 34m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

Nick Garcos comes back from his tour of duty in World War II planning to settle down with his girlfriend, Polly Faber. He learns, however, that his father was recently beaten and burglarized by mob-connected trucker Mike Figlia, and Nick resolves to get even. He partners with prostitute Rica, and together they go after Mike, all the while getting pulled further into the local crime underworld.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Thieves' Highway?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Jules Dassin

Written by

A.I. Bezzerides

Richard Conte

Richard Conte

Nick Garcos

Valentina Cortese

Valentina Cortese

Rica

Lee J. Cobb

Lee J. Cobb

Mike Figlia

Barbara Lawrence

Barbara Lawrence

Polly Faber

Jack Oakie

Jack Oakie

Slob

Millard Mitchell

Millard Mitchell

Ed Kinney

Joseph Pevney

Joseph Pevney

Pete

Court is in session

Put Thieves' Highway on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Big-Idea Head

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.