...one really has to give prolific director Edward Dmytryk a respectably just comeuppance of appreciation, as far as his ability in not pigeon-holing himself into one particular film genre. When one considers his spectrum of film productions, we're talking about seeing him dip into just about every film genre under the sun, and then some...and prove himself respectably exceptional in each and every one. An under-appreciated filmmaker by name (...an infamous 'socialist blacklist' stigma took care of that, which in itself...encompassing a rather vast number of participants...is yet another provocative Hollywood story, altogether...a tale to be later told, to be sure), his films, nonetheless spark great acclamation and appreciation by sheer mention of their eclectically varied titles, alone. A little steamy intrigue, set in a New Orleans bordello, in 1962's "Walk on the Wild Side"...the classic horror of 'ape, into woman, into ape-woman', with 1943's "Captive Wild Woman"...corruption and crime in the boxing ring, as revealed in 1940's "Golden Gloves"...cleaning up a dusty, one-horse town, plagued by gun-toting cowboy thugs, in 1959's "Warlock"...the entwining, film noir-ish mystery and intrigue, found in 1944's "Murder, My Sweet"...blackmail and terrorism, on the cusp of a fledgling computer age, in 1975's "The Human Factor"...and the ever genre-shifting list goes on, and on, and on...
