Amid a semi-documentary portrait of New York and its people, Jean Dexter, an attractive blonde model, is murdered in her apartment. Homicide detectives Dan Muldoon and Jimmy Halloran ... See full summary »
When Johnny comes home from the navy he finds his wife Helen kissing her substitute boyfriend Eddie, the owner of the Blue Dahlia nightclub. Helen admits her drunkenness caused their son's death. He pulls a gun on her but decides she's not worth it. Later, Helen is found dead and Johnny is the prime suspect. Written by
Ed Stephan <firstname.lastname@example.org>
When Alan Ladd was called up for military service, production on the movie (then still in the screenplay stage) had to be rapidly stepped up. According to a near-legendary story, screenwriter Raymond Chandler offered to finish the screenplay by working drunk: in exchange for sacrificing his health to produce the requisite pages on time, Chandler was permitted to work at home (a privilege rarely granted to screenwriters) and was provided two chauffeured cars, one to convey the completed pages to the studio and the other for his wife. Chandler turned the script in on time. Many now believe the "drunkenness" was simply a ruse by Chandler to wrangle extraordinary privileges from the desperate studio. See more »
After arriving home and being introduced to his wife's friends, Johnny punches his wife's beau in the mouth then storms into a bedroom where we hear a door slam but then see the actual door close softly. See more »
[after being picked up]
You gotta have more sense than to take chances with strangers like this.
It's funny but practically all the people were strangers when I met them. I'm going to Malibu. Is that any use to you?
What's in Malibu?
Houses, people. I have some friends there.
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A follow-on from "The Glass Key", this film offers the familiar Lake, Ladd and Bendix combo in this Raymond Chandler written film noir. Not as dark as other Chandler scripts, or indeed as other film noirs of the time, it however seems more suited to the acting talents of Lake and Ladd. It offers them both a fine chance to shine, making you understand their star appeal of that era, although for Lake it was to be her last 'big' film. Lake, as in "Sullivan's Travels", looks especially radiant in Edith head costumes, with the art direction of Hans Drier placing and lighting her in sensitive and evocative moods.
A good film to watch to either expand your knowledge of the film noir genre,
bask in Lake's glow, or to simply enjoy on a lazy Sunday afternoon...a classic of its genre. 9/10.
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