Climaxing a long series of mysterious disappearances of young girls, dancer Thalia Arnold is found murdered. Police-detective Captain McVeigh believes that King Peterson, a nightclub ...
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Climaxing a long series of mysterious disappearances of young girls, dancer Thalia Arnold is found murdered. Police-detective Captain McVeigh believes that King Peterson, a nightclub operator and owner of the Crescent School of Fine Arts, knows something about the missing girls. Peterson's silent partner is Joseph Thompson, a theatrical agent, whose daughter, Nora, a reporter, is waging a newspaper crusade against the district attorney's office for failing to trace the girls, much to the discomfiture of James Horton, a young assistant district attorney. Pauline Randolph is the next to disappear but Nora had seen her leaving her grandmother's home in a car driven by a blonde woman. Nora interviews the grandmother who tells her that Pauline had theatrical employment, along with one of her friends, Mary Phillips. When the police begin investigating the Crescent talent-school, Thompson, who knew the Arnold girl intimately, quarrels with Peterson over the school, which, Thompson claims, ... Written by
Les Adams <email@example.com>
What a load of rubbish. Girls are not missing from this non-thriller, but everything else is. No real action until two thirds and more of the way through, and then only if you use a liberal definition of action.
Leading lady Astrid Allwyn is no ingénue but you kind of wish she was, even women reporters were never meant to be this brazen. There is no real plot to this either, there is no scenery, it could have been made in one building, and probably was. Did people really shell out good money to watch celluloid trash like this even in the 1940s?
Another reviewer has suggested it has hidden depths, that the missing girls were involved in a white slavery racket or some such. It does give that impression towards the end, but if ever subtlety was not needed, it was not needed here.
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