Four small time gangsters, Kochak (Lewis Charles), his cousin Poldi (Guy Thomojan), Fitch (Zero Mostel) and their de facto leader Blackie (Jack Palance) are playing cards in a seedy part of New Orleans. Kochack, a little dizzy and very sweaty, is visibly ill and demands to leave, much to the consternation of his playing mates, who have unfinished business with him, namely, the cold hard cash he owes them.
Harmony Korine explores the oft avoided subcultures of the United States, John Carpenter’s greater strengths lie in sharing thriller and horror tales and Elia Kazan’s most famous and respected projects were those which directly concentrated on critical social issues affecting the United States during this time, issues which far too many preferred to either shove under the rug or virulently disagreed to reach compromise on. Gentleman’s Agreement, Pinky and On the Waterfront come to mind. He did venture into different territory however, although it felt like even in such attempts his desire to comment on politics or society was never far behind. In 1950 he made Panic in the Streets, a film that falls firmly into the film noir mould while turning a few of its perceivable qualities on their heads.