A serial killer in London is murdering young women whom he meets through the personal columns of newspapers; he announces each of his murders to the police by sending them a cryptic poem. ... See full summary »
A woman secretly suffering from kleptomania is hypnotized in an effort to cure her condition. Soon afterwards, she is found at the scene of a murder with no memory of how she got there and seemingly no way to prove her innocence.
Private investigator Bradford Galt has moved to New York from San Fransisco after serving a jail term on account of his lawyer partner Tony Jardine. When he finds someone is tailing - and possibly trying to kill him, Galt believes Jardine is behind it. As he finds there is rather more to it, he is increasingly glad to have his attractive new secretary Kathleen around, for several reason. Written by
Jeremy Perkins <firstname.lastname@example.org>
"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on November 10, 1947 with Lucille Ball and Mark Stevens reprising their film roles See more »
Early in film where Kathleen is seen looking out of the back window of the taxi, she is clearly wearing a ring on her left hand. In all other scenes, like when dancing at the nightclub with Bradford, she is not wearing any ring on the left hand. However, throughout the film, she consistently is wearing a ring on her right hand little finger. See more »
"I feel all dead inside . . . backed up in a dark corner . . . and I don't know who's hitting me."
So Mark Stevens' Brad confesses to secretary-girlfriend Lucile Ball's Kathleen.
This particular dark corner has many angles, shadows and turns, as the two go sleuthing in search of an elusive villain--Clifton Webb's Hardy. Along the way Hardy's "hitman," Stauffer (William Bendix) gets the "ax," as the audience maintains rapt attention.
A nicely turned crime script by Jan Drather and Leo Rosten is given slick credibility by Director Henry Hathaway. The "Manhattan Melody" theme, used in so many New York drama films of the 40s, was first heard here. It was part of Cyril Mockridge's original score, so evocative of "big city pre-dawn street scenes" that it became a motif of dozens of similar efforts.
The film also showed what Ball could do in a straight dramatic role, and she proved quite capable of holding her own. Webb, forever "effete personified," offers a polished performance, while Bendix contrasts as the perfect "mug."
A "whodunit" worthy of a studio that produced loads of neat "forties thrillers": 20th Century Fox.
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