Max Nosseck's “The Hoodlum”, coming on the heels of his equally dark "Dillinger", is one of those films you can’t help but simply marvel at. Even though the story is exceptionally downbeat, featuring mostly despicable characters doing truly deplorable things, there’s simply no way to remove yourself from the film without a deep-rooted respect for all involved, Lawrence Tierney, especially. As a film fan who watches more than my fair share of cinematic junk, I was totally dumbfounded to stumble upon this absolute gem of a flick. It's always a treat to view something that is worthy of your time. It's kind of shocking that this film isn't touted more by critics and fans alike.

Lawrence Tierney plays Vincent Lubeck a petty hoodlum pulling a ten-year burn, that is until his teary-eyed mom (Lisa Golm) pays the parole board a visit offering up the usual “but he’s a good boy” malarkey. Despite at least one fellow’s objection, the board agrees to spring Vincent on the mutual agreement that he works the nine to fiver at his brother’s modest in-town gas station, located, coincidentally, across from a bank. Before leaving the facility, Lubeck is lead to a small room with an electric chair – an attempt by an overzealous board member to jolt him straight. Yeah, like that’s going to work. Once out, Vincent grows bored five minutes into his legit job and is soon scheming for a big payday. Playing his brother Johnny, Edward Tierney (Lawrence’s real life brother), has very little patience with his gruff sibling, who seems to take great pride in irritating the station’s customers, even intentionally dumping gas across their vehicles. An ex-con herself, Rosa (Allene Roberts), Johnny’s soft-spoken sweetheart, believes that she can tame the beast that is Vincent, but as it turns out, he has her number and before long he’s throwing all of his seductive charms in her direction. It doesn’t take long for her to cave. Once he’s gotten her sufficiently knocked up, Vincent is content to simply forget about her – angling instead for that attractive bank secretary, Eileen (Marjorie Riordan), who stops in at the shop from time to time. A broken-hearted Rosa decides to toss herself off a building rather than go on without Vincent. A follow-up dinner conversation where Vincent flippantly discusses Rosa’s death with his brother offers the audience the first genuine glimpse of the simmering sociopathic monster lurking beneath the surface.

Since the bank is conveniently located right across the street from John’s garage, it’s afforded Vincent the time and opportunity needed to plan the mother of all bank heists. After calling up some old pals from his other life, Vincent and crew are quickly setting things into motion – mocking up the perfect getaway plan and carrying it out in broad daylight. Sadly, things don’t go as designed and before the last bag of loot is hauled away, a number of cops and even one of the bad guys will be lying dead in the street. Things take an even more bizarre turn back at the rendezvous, where Vincent is more content to slap around one of his posse, a female, rather than cut her in for a bigger slice of the dough. In keeping with its film noir underpinnings, things go completely off the rails, and Lubeck is left a broken man on the run from the law and forced to face the one person in his life he actually gives a rat’s ass for – his mom. This is where the film finds itself, and the agonizing few moments with Lubeck bent over his mom as she lays moments away from death, will leave you emotionally staggered.

"The Hoodlum” thrives in the muck and shadows, offering up a grim and ugly portrait of a world one might not want to know about. As the host of the festivities, Tierney’s Lubeck is pure evil incarnate with virtually no redeeming qualities. He’s a brutal, vicious thug who seemingly lacks any semblance of a conscience, not even when it comes to his own brother. There’s no character arc to speak of, so if you’re looking for it, please, don’t bother. This is the dark film noir protagonist taken to another level. When his penance arrives, at film’s end, it’s only because he’s painted himself into a corner – one that he cannot get himself out of. The notion that Vincent has betrayed his mother, and her heartbreaking cries of regret for helping him get paroled early, speaks to some depth of character, but it’s only arbitrary, and is gone before you know it. The symbolism of the garbage dump, for which Vincent has made it his life goal to get away from, plays poetic as Johnny chauffeurs Vincent to a garbage dump to meet his executioners.

As Vincent Lubeck, Lawrence Tierney (1992's "Reservoir Dogs") is a revelation. With his crooked grin, mischievous eyes and smarmy demeanour, he’s a lot to take at first sight, however, this is a performance worthy of accolades. With Tierney, being bad has never looked so good, even when the consequences of said actions are glaringly on display. Lisa Golm (1948's "Letter From An Unknown Woman"), as Vincent’s mom, has a tendency to over do it in some of her scenes but in the end, it is this boisterous idiosyncratic behaviour that makes her more endearing. It’s not a stretch to see why even some monster like Lubeck would have a soft spot in his black heart for her. Edward Tierney (1954's "Men of the Fighting Lady") doesn’t have the presence his brother does, for sure, but he does well enough in his role as a dull working stiff. It’s interesting to watch these two together, as both treat each other with the same kind of condescending tone, however, derived from completely different world views. Simply amazing!!!

For more information on "The Hoodlum", check out the imdb.com page. Since it is considered in the public domain, it can be viewed legally and for free here. To purchase a copy of the film, go to the cheapest possible source Mill Creek Entertainment.