During the campaign for reelection, the crooked politician Paul Madvig decides to clean up his past, refusing the support of the gangster Nick Varna and associating to the respectable ... See full summary »
A convict being escorted in for retrial escapes at Grand Central and threatens his old girlfriend on the phone. She flees for her new beau's private railcar at the same station. When she is... See full summary »
Lydia MacMillan, a wealthy old woman who has never married, is invited by an old beau, Dr. Michael Fitzpatrick, for a reunion with the men who have been in her life to reminisce about the ... See full summary »
Edna May Oliver
Ruthless hood Johnny Eager is pretending to his parole officer that he has chucked the rackets and is now a full-time taxi driver. In fact, he's as deep in as he ever was and desperately needs official permission to open his new dog track. When he meets up with Lisbeth Bard, he finds he not only has a stunning new girlfriend but a possible way to get his permit. Written by
Jeremy Perkins <email@example.com>
"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on January 21, 1946 with Robert Taylor reprising his film role. See more »
In the scene where Johnny is asking Benjy about the cop that won't let him put in slot machines, Benjy hands him a note with the cop's badge number (#711) on it which he unfolds before handing to Johnny. Then we see Johnny unfolding it again. See more »
(Also known as "Melancholy Baby" and "My Melancholy Baby")
Music by Ernie Burnett
Played during the opening and closing credits
Played as dance music by the band at Tony Luce's place
Played as background music often See more »
"Johnny Eager" reeks with the look and feel of a typical MGM production. It's glossy, high class, not particularly realistic but very dramatic, and given to a kind of heightened fantasy world, even when tackling a tough scenario.
Robert Taylor was always at best a competent journeyman leading player, whose "perfect profile" merged with acceptable physique and resonant voice to sustain a remarkably prolific career.
Lana Turner was perfectly paired with him, as her abilities were an equal match. She likewise possessed striking looks and a willingness to do a good job. Those qualities also sustained a folio as full and lengthy as Taylor's.
Van Heflin turned in fine character performance (he always seemed a striking forerunner of Arthur Kennedy) which was one of his numerous outstanding performances.
All in all, "Johnny Eager" is quite entertaining, as long as one's willing to go with the uniquely MGM type of dramatic fantasy.
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