I've never associated MGM much with noir. A few standouts exist- like THE ARNELO AFFAIR (1947); ACT OF VIOLENCE (1948); and MYSTERY STREET (1950). But most of the studio's crime dramas are merely passable and not very engrossing. NO QUESTIONS ASKED falls somewhere in between on the spectrum. It is mostly by the numbers, but does manage some fairly engaging sequences.
Sidney Sheldon- yes, the man who later gained fame as a mystery novelist- wrote the screenplay. He sets up a tense situation at the beginning where a lawyer (Barry Sullivan) who works for a big insurance company is on the run. Of course, a series of flashbacks unfold in typical noir style where we see how he got involved in shady dealings with the mob which jeopardized his legal career and his love life.
The mob elements are somewhat muted, though there is a memorable scene where two hoods dress in drag to rob a bunch of high society women of their jewels. The precious stones are insured and there will be a payout.
Sullivan's character is in on the racket that bilks his posh insurance firm. He's smarter than the executives he toils alongside in the office, and he's smarter than the crooks who operate on the streets and in the back alleys. In fact he's too smart for everyone. And soon these forces, plus the police, conspire to bring him down.
George Murphy, who was in THE ARNELO AFFAIR, plays the inspector. I've always admired Mr. Murphy's versatility in motion pictures, and he's very good as the tough no-nonsense copper.
Meanwhile, we are treated to the requisite romantic interludes. Sullivan is involved with two different types of women. The first one is a greedy married chick (Arlene Dahl) who helps frame him for murder. The second object of affections is a girl Friday (Jean Hagen) at work. She's been carrying a not-so-secret torch for Sullivan.
Miss Hagen is quite poignant in her role. She essays the rejection well when Sullivan initially chooses Dahl over her, but there is a glimmer of hope under the surface that he will come to his senses and change his mind. It is certainly very gratifying when Sullivan finally sees the proverbial light at the end and realizes she's the one he should have been with all along.
Sidney Sheldon- yes, the man who later gained fame as a mystery novelist- wrote the screenplay. He sets up a tense situation at the beginning where a lawyer (Barry Sullivan) who works for a big insurance company is on the run. Of course, a series of flashbacks unfold in typical noir style where we see how he got involved in shady dealings with the mob which jeopardized his legal career and his love life.
The mob elements are somewhat muted, though there is a memorable scene where two hoods dress in drag to rob a bunch of high society women of their jewels. The precious stones are insured and there will be a payout.
Sullivan's character is in on the racket that bilks his posh insurance firm. He's smarter than the executives he toils alongside in the office, and he's smarter than the crooks who operate on the streets and in the back alleys. In fact he's too smart for everyone. And soon these forces, plus the police, conspire to bring him down.
George Murphy, who was in THE ARNELO AFFAIR, plays the inspector. I've always admired Mr. Murphy's versatility in motion pictures, and he's very good as the tough no-nonsense copper.
Meanwhile, we are treated to the requisite romantic interludes. Sullivan is involved with two different types of women. The first one is a greedy married chick (Arlene Dahl) who helps frame him for murder. The second object of affections is a girl Friday (Jean Hagen) at work. She's been carrying a not-so-secret torch for Sullivan.
Miss Hagen is quite poignant in her role. She essays the rejection well when Sullivan initially chooses Dahl over her, but there is a glimmer of hope under the surface that he will come to his senses and change his mind. It is certainly very gratifying when Sullivan finally sees the proverbial light at the end and realizes she's the one he should have been with all along.