This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

After playing with our expectations, this turns out to be a very different sort of film.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

I disagree with the general trend of reviews for this film. I think it's a very strong film. However, it has the feel of a small film...but I think that's what was required here because it's a film about a very small town. Small town -- small film. That's a match.At first glance, it looks as if the plot is going to be pretty simple. Newspaper editor is arrested in a small hick town on false charges and will lead a crusade to clean up the town. Until he uncharacteristically steps back and decides to leave his town completely. Huh? Walter Pidgeon running away? Fortunately, someone takes up the crusade -- but not Pidgeon's son-in-law, a county prosecutor. Hmmmm. A family that has high ideals until they're put to the test? But someone has to lead the charge. So that falls to John Hodiak, a state prosecutor. And he faces a brick wall because everyone is afraid to testify against the small town thugs.Will the newspaper editor testify? And if not, why not? Today's audiences may not believe that there were places like this back before the 1960s. People did sometimes virtually disappear.Walter Pidgeon is quite good here as the newspaper editor; I wonder how he liked a film where for at least part of the time he appeared to be a coward. John Hodiak is very good as the state attorney. Thomas Gomez is good...and disgusting...as the crooked sheriff. Karl Malden is good as an honest cop.I don't find a lot here to criticize. The ending gets -- as a couple have already said -- a little preachy and too idealistic. And, I think they could have made more earlier in the film about the dilemma facing Walter Pidgeon.I liked it and recommend it.

Walter Pidgeon, John Hodiak, Tomas Gomez, Audrey Totter, Cameron Mitchell, Karl Malden and Everett Sloan all star in "The Sellout," a 1952 film. Pidgeon plays a well-respected newsman, Haven Allridge, who runs afoul of a corrupt sheriff (Gomez). Despite the fact that he and his department have been using violence and other illegal tactics unopposed because people are afraid, Allridge decides to take him down. He uses the power of the press to bring the matter to everyone's attention, and soon an indictment is called for. Since Allridge's son-in-law (Mitchell) works for the court, a special prosecutor (Hodiak) is brought in. Unfortunately, when it comes time for the indictment proceedings, everyone seems to have forgotten what they said previously.This is an okay movie, although predictable, with good performances. It does point out that ethics aren't just for people who have nothing to lose, when it's easy. True ethics are for the tough times, when one is faced with huge losses.Good cast.

A reporter (Walter Pidgeon) happens to go through a county in the countryside. He is pulled over by the cops and arrested--though he'd done nothing. Then, in court, he sees that one by one, innocent folks are being shaken down by a corrupt sheriff and a corrupt judge. So, he makes it his crusade to bring down these crooks. As he digs, Pidgeon sees that this organized crime runs deeper--these 'cops' help run illegal gambling and various vice operations! When he appeals to people higher up in the state government, people are reticent to do anything--after all, that county brings votes to the state party machine. What can be done? Eventually, Pidgeon's articles have an effect and John Hodiak is sent from the state prosecutor's office to investigate. But his case isn't easy--as the reporter has just disappeared and so has his file on the corrupt county.Some time later, Pidgeon returns home--briefly. There's not much of an explanation where he was, he's ready to move to Detroit and he has no interest in following up on his articles on corruption. It's obvious he's scared and has no intention of continuing. Can Hodiak change his mind? He sure needs Pidgeon's help with the investigation.All in all, an exceptional film--tough, exciting and well-acted. My only quibble, and it's a little one, is that the film is a tad preachy at the end. Still, it's a nice film--well worth seeing--especially since the cast was so capable. In addition to Hodiak and Pidgeon, the film has support from Audrey Totter (who plays a great dame), Thomas Gomez (who's almost always the heavy), Everett Sloan, Cameron Mitchell, Whit Bissell, Karl Malden and Frank Cady (Sam Drucker from "Green Acres")--a very impressive list. It was also cool seeing Burt Mustin playing the corrupt judge--the sort of role you wouldn't expect from this fun character actor.

1951, the Kefauver congressional committee on organized crime and corruption is making headlines, and MGM under new head Dore Schary is trying to make that famously big-budget studio relevant to news of the day. The trouble is that the so-called Tiffany of studios just doesn't have the same feel for gritty material as a Warner Bros. or an RKO. Too bad this film doesn't sustain the harrowing feel of the first 15 minutes, when prominent editor Allridge (Pidgeon) is brutalized after a minor traffic infraction by corrupt Sheriff Burke (Gomez). Allridge's ordeal has the feel of a "sudden nightmare" to it, as if he's been abruptly forced into a savage new world where the old civilized rules no longer apply. It's a backwater county run by the sheriff like a private fiefdom and a jailhouse where inmates rule once the cell door slams shut. I like the way we're shown the difficulties state prosecutor Johnson (Hodiak) encounters in trying to rid the county of Burke and his outlaw regime.Still and all, the longer the movie lasts, the more momentum it loses, ending with a final 20 minutes of plodding courtroom procedure. There's still some suspense in the air (why did Allridge skip town), but the initial energy has long since dissipated. At least part of the problem lies with uninspired direction that can't sustain the early sense of tension and evil. Too bad noir maestros like Phil Karlson or Anthony Mann weren't running the show. Those reviewers contrasting this film with Karlson's similar Phenix City Story are right on target. Nonetheless, the movie does have its moments, along with a vibrant turn from the under- rated Audrey Totter who never seemed to get the recognition her talent deserved.