I felt like giving up on humanity entirely after watching it. Frank Borzage directed Moonrise, which was adapted from a novel by Theodore Strauss. Dane Clark portrays Danny Hawkins, who is the son of a man executed for his crimes. Haunted by his father's history and taunted about it during childhood, Hawkins develops into a troubled and bitter man. He lashes out at anyone who provokes him, and misfortune quickly follows, pulling Hawkins further into the Southern landscape’s depths. Will Gilly Johnson (Gail Russell) offer comfort, or is it simply too late for him to reconnect with humanity? The film begins with a blurred image that blends into the feet of men walking toward the gallows—the moment Danny Hawkins' father is hanged. This immediately establishes the tone for Borzage’s dreamy film noir. It stands out in several ways because while it certainly possesses elements of film noir, particularly in its visual style and technical aspects, an overtly poetic quality and a notably less somber conclusion almost push it into the realm of fanciful entertainment. Borzage and his cinematographer, John L. Russell (in one of his early significant roles), created a remarkable atmosphere. The story unfolds in the humid South, where shadows and darkness are consistently present and rewarding, while unusual camera angles focusing on midriffs during conversations further emphasize the unstable state of Dane Clark’s character. It's also worth noting that certain scenes demonstrate why Borzage was so highly regarded historically—a Ferris Wheel, a car accident, and a sequence involving raccoons in treetops (which simultaneously disturbed and captivated me) are just some reasons to recommend this film to fans of Borzage's work. Considering it originated from Republic Pictures, known for its low-budget films, one might expect certain limitations. However, this is a superb production that defies expectations given its origins. The acting is solid; Clark does a particularly good job portraying a character struggling with conflicting emotions. The sets and location shooting are also effective and enhance the narrative. Fortunately, despite lacking restoration work, the picture quality remains quite good. The sound occasionally dips in volume, but overall the transfer to television prints has been successful. Featuring supporting performances from Ethel Barrymore, Allyn Joslyn (who is excellent), Henry Morgan, Harry Carey Jr., and a brief appearance by Lloyd Bridges, this film comes highly recommended. However, I can't guarantee that the ending will satisfy everyone. 7/10

Source on TMDB