SanEat A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

krocheav Seems there maybe some viewers with expectations that are too high for small budget works and maybe too many pseudo psychologists floating around to really do us much good...**After reading several comments I just about gave up taking the time to view this curious movie. It was the interesting title, combined with a marvelous cast and hard working director, that convinced me I had to at least watch it out of curiosity. What I saw took me by surprise, so much so I had to look further into how this little film could look so remarkable ~ on such a modest budget. The crew behind this overlooked gem, all surprisingly turn out to be veteran award winners!Cinematographer: the Russian born veteran and Oscar nominated Harold Lipstein (Pal Joey '57) ~ Art Direction: by no less than 'multiple' award winner Cedric Gibbons along with fellow award winner Malcolm Brown. ~ Set Decoration: again by a multiple award winner: Edwin B. Willis and Oscar nominated Ralph S. Hurst. ~ Film Edited by: Oscar winner Conrad A. Nervig (Tale of Two Cities '35) ~ Special Effects: by A.Arnold Gillespie (Wizard of Oz '39) and Warren Newcombe (Singin In The Rain '53) both these men also 'multiple' award winners!. In the Sound dept: none other than Douglas Shearer, yet another multiple award winner. How could this film not look anything but good? Still, some viewers winged! Add to the above a top cast with awards that just keep on coming: Vittorio Gassman as Jory, the desperate man on the run, a performer with honors stacked upon honors (Bitter Rice '49, Barabbas '61) ~ Emmy winner Polly Bergin: as the Detectives wife. ~ Barry Sullivan the Emmy nominated, constantly reliable performer, known for numerous strong roles (The Bad and the Beautiful '52) as the earnest detective totally dedicated to serving incorruptible justice. ~ William Conrad as the sadistically inclined assistant to Sullivan (who also has his eye on his partners job). A couple of the support characters offer a not so subtle comment on some low grade law enforcement, especially those to be found in backwoods counties during this era ~ there's a good performance by veteran Harry Shannon as a very 'suss' sheriff. All this huge talent is then masterly guided by the highly skilled and underrated winner of the Distinguished Hollywood Film Artist award: Joseph H. Lewis. As Director, Lewis has taken a screenplay by Jack Leonard who garnished an Oscar nomination just the year before with "The Narrow Margin". For this follow up story, equally laced with observant comments and smart one liners, Lewis turns it into a taught, exciting wilderness manhunt between two men with a high respect for each other's integrity (gained from fair legal dealings earlier) but are on opposing sides of justice.I note that there are certain liberationists who in retrospect, would now have us believe these men are sexually attracted to each other...why?, well seems it's because of the understandable respect these men show toward each other after one has saved the other from a grueling certain death, then, wait for it.... they sit exhausted against a tree and quietly 'share' a cigarette!. "Hello"... I've heard of having imagination, but wish these folk would learn to use it with perhaps a little more nous. ** Looking into this further; it's a documented fact that cigarette manufacturers targeted 'personalites', film makers, actors etc - 'donating' hundreds of thousands of dollars to ensure they would make smoking appear glamorous, desirable, for both sexes of any age. Many times throughout the 30s - 60s, foolish scenes (like those in this film) would be 'written-into' the screenplay for the sake of extra funding. In this case - consider the obviousness; these cigarettes have been crushed, immersed in swamp water, covered in mud (and quicksand!) but still they 'light up' to pacify the weary heroes!. Resent critiques I have read from such as Alain Silver, Elizabeth Ward & Eddie Muller don't seem to take these facts into consideration, instead they quite simply interpret such actions as being homosexual tendencies. Should we perhaps expect better from these folk...or could this be seen as simply pushing other agendas, who really knows...? Now back to better ideas. There's a couple of particularly striking scenes...one where a swamp fever infected and delusional Sullivan, suffers what can only be seen as a spectacular and rather frightening hallucination. This sequence is designed and executed by first class artists and is vividly convincing. Another involves Sullivan and his partner who, while taking refuge in an abandoned swamp Cemetery, come into contact with a demented mourner, quite chilling in it's Shakespearian feel and quality. Apart from a few minor script potholes, typical to the era, this work needs to be looked at through eyes that understand the limitations these major/minor projects were forced to overcome, and did so quite handsomely. Pleased TCM have given us yet another lost gem - the image quality of the Australian print is not as good as others being screened so, being MGM, wonder if it's available out there...on a 'studio quality' DVD? Like small budget classic dramas? ~ then this could be for you.... KenR

sfdphd I actually enjoyed this film more than I expected. In contrast to other reviews here, I thought the writing was quite snappy and entertaining. I thought the cast was good in all the major roles and the chemistry between the characters was strong. In particular, Barry Sullivan was a good leading man, and his relationship with his wife (Polly Bergen) was good. I haven't seen many films with those two so it was interesting to see them. I believe that Polly is the mother of Candace Bergen, and you can see some resemblance in her face and attitude. Vittorio Gassman and William Conrad were also strong supporting roles.It's not the best noir, but certainly worth seeing. I'm so glad I was able to find it on You Tube since my local library and my local video store had no copies of it....

MartinHafer I like crime films a lot. So, the idea of a film about an escaped convict and a cop who doggedly follows him is one I'd probably like. However, "Cry of the Hunted" turns out to be pretty poor--mostly because the writer was 'slap-happy'--literally! Characters in the film are pretty one-dimensional and spend a lot of time slapping folks around--and they way the slap-ee (is this a word?!) reacts is even more bizarre. For example, early in the film, Lt. Tunner (Barry Sullivan) wants some information out of a prisoner--so he beats the crap out of him. Then, later in the film, after this prisoner escapes, the prisoner refuses to harm the Lieutenant when he has a chance! You'd think he'd at least deck him for having worked him over earlier--but instead he inexplicably likes him! And, when Tunner and his assistant (William Conrad) are out in the bayou looking for the escapee, the assistant takes a local behind his shack and slaps him around to get information! Only moments later, the prisoner and his woman get in an argument and, surprise, surprise, he slaps her across the face--at which point she kisses him very passionately!!! I tell you, the writer was slap-happy--and reinforced some bizarre clichés about violence!This is not my only complaint about the movie. Much of the dialog is bad but the plot really doesn't make any sense. A prisoner from the bayou escapes back to the waterways he knows so well. So, the Lieutenant and only one assistant follow him--determined to get him. This makes no sense, as the Louisiana back country is a maze of waterways, islands and ferocious creatures. Yet, two lawmen are going to somehow find a man who grew up there AND who is being aided by the locals. Yeah, right. And this makes sense to whom?!The bottom line is that the film is chock full of bad writing. Despite a decent story idea, the film manages to blow it.

Ale fish At first glance a rather ordinary thriller with a disillusioned cop (Barry Sullivan - pretty good) chasing an escaped con (Vittorio Gassman) deep into the swamps of Louisiana. However, delve a little deeper and you find a dark and cynical meditation on fear, obsession and personal honour.Unlike ‘The Fugitive' this con is guilty but his crime, although serious, barely gets a mention. The script instead concentrates on the two protagonists and their similarities. Although on different sides of the law, both believe in family and personal honour and cannot compromise their beliefs. Both suffer as a result.The justice system is portrayed as idle(a Prison Warden only interested in golf), bigoted (a Southern Sheriff who pre-dates ‘In the Heat of the Night') or just plain nasty (William Conrad scoring well as the cop's partner.)On the down side, the female roles are seriously underwritten (virtuous wife & bayou trash hellcat) and the resolution is implausibly upbeat.Overall, however, a good ‘B' thriller of its' day, surprisingly violent in places. Director Joseph H Lewis made better movies (‘Gun Crazy', ‘The Big Combo') but this one still begs the question; ‘How in hell did someone so talented end up making episodes of ‘Rifleman'& 'The Big Valley'?!'