Reporter Kenny Blake (Hugh Beaumont) falls in love with scheming Toni Kirkland ('Ann Savage') not knowing that she is married to Harvey Kirkland (Russell Hicks), a man years older than she.... See full summary »
Reporter Kenny Blake (Hugh Beaumont) falls in love with scheming Toni Kirkland ('Ann Savage') not knowing that she is married to Harvey Kirkland (Russell Hicks), a man years older than she. By the time he finds out, he is so under her spell that he murders her husband which is what Toni had planned all along. City editor Ward McKee (Charles D. Brown, Kenny's boss and best friend, begins to pursue the tangled threads of the crime relentlessly and gradually closes the net on Kenny. The latter is mortally wounded by Toni, who has deserted him for another man. Written by
Les Adams <email@example.com>
"I brushed you off because I couldn't be bothered with you any more...you didn't have what it takes to go through with something...you won't involve me in any murder rap...you've said all that you'll ever say!" (original poster) See more »
According to director Edgar G. Ulmer, who was working at PRC at the time this film was made, it was originally to be called "Single Indemnity" (it was a virtual copy of the Fred MacMurray/Barbara Stanwyck film Double Indemnity (1944) of a short time earlier). The producers of "Double Indemnity" got wind of it and threatened legal action. PRC then changed the title to "Apology for Murder". See more »
This film was an unapologetic rip-off of "Double Indemnity" which has been called 'The First Film Noir' and was released a year earlier. Not a total failure, but without the star power and amazing dialog of 'Indemnity' there really is just no comparison. Of course you still get Hollywood rip- offs today, but seems they can't get away with anything so blatant as this low-budget rush job from PRC productions. The film does give you another look at Ann Savage who also played the femme fatale in another fantastic noir "Detour." Perhaps it is worth watching as a good example of what the lower tier or 'poverty row' studios could produce on a shoestring before they all gradually disappeared in the 50s.
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