Those whose greatest fear is loss most fear those with nothing to lose. This sort of resentment that emanates from the desperate in waves. Bogart nails the irrepressible nature of this hate and misery.
There’s a lot to like in Wyler’s exploration of class, criminals and trauma. And while the occasional plot contrivance stretches credulity - the showdown between March and Bogart stays grounded and visceral.
Amazing how relevant this film remains in the age of Luigi Mangione and increasing political and class violence.