I like the storyline of this show,it attract me so much

Bad Acting and worse Bad Screenplay

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Producers: Lewis J. Rachmil, Jerry Wald. Copyright 17 August 1954 by Columbia Pictures Corporation. New York opening at the Palace (as a support to a vaudeville bill of eight acts): 6 August 1954. U.S. release: 1 September 1954. Australian release: 15 October 1954. Sydney opening at the Victory. 10 reels. 91 minutes. SYNOPSIS: A violently jealous railroad executive murders one of his wife's former lovers. (Don't worry, this only the beginning of the story). NOTES: A re-make of Jean Renoir's La Bete Humaine (1938). Second of only eight films (made between 1950 and 1957) for Diane DeLaire. Locations filmed on Rock Island Railroad lines, Oklahoma. Shooting for 35 days, completed January 25, 1954.COMMENT: In the hands of an uninspired scriptwriter, an oddly indifferent director (Fritz Lang) and solidly unimpressive principals, this re-make signally fails to impress. It's impossible to believe that any hero, even a glumly non-personable Glenn Ford, would throw aside a delectable dish like Diane DeLaire for a tawdry, shallow Gloria Grahame. Nor is it possible to credit that Miss Grahame would even consider marrying a no-hoper thug like Broderick Crawford. As a result, all the relationships on which the drama depends don't convince in the slightest. What's even worse, the pace is not only inveterately slow and plodding but all the action occurs off-camera! Any prospect that director Lang might compensate for these defects by at least providing viewers with the feel and atmosphere of railroading, is also quickly dashed. The action might just as well have taken place on a steamer or large airliner. Production values, despite a bit of actuality filming, emerge as extremely moderate. Even the support players have little to contribute. Edgar Buchanan has a small role as the hero's buddy, but drops out of the action altogether for most of the running time.

This is Fritz Lang, so one would expect lots of dark emotion, double crossing, and sexual tension. Well, you won't be disappointed. This one has it all. The story is hardly original. In fact, Emile Zola was given story credit. It is a love triangle with Broderick Crawford and Gloria Grahame as an unhappy couple, with Glenn Ford at his somnambulistic best, showing all the emotion of a turnip. Watching him try to generate the emotion required to be the catalyst in a love triangle was almost painful. In fact, he almost sinks this movie into cinematic obscurity. Thankfully, it is resurrected by the performances of his costars. I am always amazed at the on screen sexuality of Gloria Grahame. She is hardly your typical Hollywood beauty. Her features are somehow askew, but she absolutely exudes sex. The other redeeming performance is given by Broderick Crawford. He plays her jealous, out of control husband. He has a natural explosive persona, but in this movie I kept waiting for him to fly off the rails.Speaking of rails. This is a train noir, if there is such a thing. It all takes place around, aboard, and about trains. Glenn Ford is an engineer and Crawford the yard boss. Train buffs will love it. There are numerous scenes of the engineer and passenger compartments, the rail yards, the roundhouse, and plenty of rambling track shots. It is all diesel in the '50's which I think most people would agree was the zenith of train travel in the US.Despite it's predictability and some of it's shortcomings, I still found this movie extremely enjoyable. My only real complaint came at the end, which seemed to leave the viewer at loose ends and feeling somewhat bewildered. Still, if you like trains and dark drama, take a look. It hasn't been around much and the title is fairly generic, so it isn't easy to find, but it is certainly worth the effort.

In this adaptation of Zola's "La Bete Humaine," a railroad engineer becomes involved in a love triangle and murder. Ford and Crawford are fine as the men vying for Grahame's attention. The latter, however, is strangely wooden as the femme fatale, a bad girl role she would seem to be ideally cast for. Lang creates an appropriately noirish atmosphere and keeps things interesting despite the relaxed pace. There are a number of leisurely, dialog-free shots of trains rumbling along the tracks, suggesting something sinister is about to happen. This is a worthy addition to the series of solid dramas Lang made starting with "The Woman in the Window" in 1944.

The definitive version of Zola's La Bete Humaine was made in 1938 by Jean Renoir and featured Jean Gabin, Fernand Ledoux, Julien Carette and weakest link Simone Simon. Lang offers Glenn Ford for Gabin, Brod Crawford for Ledoux, Edgar Buchanan for Carette and Gloria Grahame for Simon. Arguable Graham is marginally better than Simon but one out of four is a lousy average. Both films begin with shots of rails and trains but where Renoirs' are vibrant and exciting Langs' are lacklustre at best. All in all then Lang finishes out of the money, a bad nowhere to Renoir. That's not to say there aren't moments worth watching but these are mainly compositions rather than powerful dramatics. See it for comparison then forget it.