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How I felt about it. This is a curious crime drama. Several subplots are undeveloped, or abruptly ended. This is unusual practice for Warner Bros., which normally was adept at noticing such things at the height of the studio system.
Most curious of all is Bogart's stomach wound. He has it, it bothers him, then it disappears from the rest of the movie. We expect it to become an Asphalt Jungle resolution, where it causes Bogart's eventual (and, because of the Production Code, inevitable) undoing. Instead, Bogart is cornered because he held up a store, which he had to do because he was nice enough to give away all his money to Lupino (and earlier, to Leslie).
Indeed, Bogart is often unexpectedly nice throughout, especially for a career bank robber and murderer whose nickname is "Mad Dog." He spares the life of two people who rat on him, the cowardly Mendoza (Cornel Wilde in an early role), and a stupid busybody who recognizes Bogart from a newspaper photo, then approaches him instead of simply calling the police. Bogart also spares the life of the bad luck dog Pard, who consistently lives up to his reputation until he gets Bogart killed.
An admittedly interesting, but odd, subplot involves Leslie, Bogart's crush. Leslie is such a sweet girl, right up until Bogart springs for her clubfoot operation, then her ugly, ungrateful side comes out to the point where she is as rude as her ne'er-do-well boyfriend. Bogart's plan is to pull off the big heist and get away quickly. His heart must sure beat fast for hottie Leslie to threaten his plan by romancing her.
It is also odd that Leslie's family, said to be dirt poor, is able to live in such a nice house, which even has such luxuries as a piano.
Bogart is quite the gentleman with Lupino, despite the trouble she quickly causes between Curtis and Kennedy, and despite his greater (and unwise) interest in Leslie. Bogart never makes a pass at Lupino in the entire movie, even though she practically throws herself at him.
It is a strange movie, but it is clearly popular among classic film fans. Humphrey Bogart was reportedly eager for the role, even though he had played gangsters numerous times before, most notably in The Petrified Forest (1936), Dead End (1937), Angels with Dirty Faces (1938), and The Roaring Twenties (1939). Bogart knew his distinctive speaking voice was ideal for gangster roles, and he also knew the movie-going public loved gangster movies. And it was a big, juicy part. Bogart is onscreen in the vast majority of scenes, although, for some reason, Ida Lupino is given first billing.
Easily the most embarrassing aspect of the movie is Algernon, the black custodian of Bogart's low-rent complex. Algernon is a completely racist caricature: wide-eyed, superstitious, uneducated, subservient, indolent, and stupid. But true to his good guy nature (at least until he has a gun in his hand), Bogart is never annoyed with Algernon. Or with Lupino. Or with Pard.