
Both the opening move here (a guy who's hiding in plain sight and trying to make an honest living running a gas station after having double-crossed a crook in the past) and to some extent the narrative strategy (retrospective) are similar to Siodmak's The Killers from the year before. These aspects, both here and in Siodmak's riff on the Hemingway story, help to enforce the main theme common to both films (and the story): your future's predetermined by your past, so you may as well amor fati, cowboy, because it's coming to getcha anyway.
Mitchum is the perfect choice for such a role--better than Lancaster in The Killers, who's resigned, sure, but flairlessly so--because even when he's going through all his machinations to escape his fate, everything about him, from his sleepy expression to his droll banter, is telegraphing that he knows full well he's going to wind up smoked in a ditch. If they ever do a Sartre bio pic, they should get Mitchum to play him.
I find this movie very comforting. No matter how many times you watch it, it always ends the same way.
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