It's is a face off between a detective (Cornel Wilde) and sociopathic mob boss (Richard Conte). The gangster defines high achievers as those most able to hate, as they will destroy others to reach their goals. But that also applies to the cop, who will take his adversary down by any means .
He will even sacrifice Conte's traumatised moll (Jean Wallace) who Wilde has fallen in love with. She is a cultivated, educated woman in an environment where those accomplishments have no value. The detective exploits his murdered, stripper girlfriend too: 'I treated her like a pair of gloves. If I was cold, I called her up'.
The gangster's deputy (Brian Donlevy) is a traumatised punch bag who can't take it anymore. Or dish it out. Empathy is his tragic flaw. His demise, shot in silence when Conte removes Donlevy's hearing aid is classic noir: 'I'm gonna give you a break. I'm gonna fix it, so you don't hear the bullets'.
This is expressionist art, photographed by noir legend John Alton. There is a tough, ominous screenplay from Philip Yordan which is sometimes tender but usually brutal. By '55, censorship was being eased. The murders are violent and onscreen, and there's a pair of obviously gay hitmen. It's one of the best B films ever made.