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The Dark Corner (1946)

 -  Crime | Film-Noir | Drama  -  9 April 1946 (USA)
7.2
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Ratings: 7.2/10 from 2,455 users  
Reviews: 79 user | 27 critic

Secretary tries to help her boss, who is framed for a murder.

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(screenplay), (screenplay), 3 more credits »
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Title: The Dark Corner (1946)

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Cast

Complete credited cast:
...
...
...
Mark Stevens ...
Kurt Kreuger ...
Cathy Downs ...
Reed Hadley ...
Police Lt. Frank Reeves
...
Eddie Heywood ...
Eddie Heywood - Orchestra Leader
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Storyline

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 <jwp@aber.ac.uk>

Plot Summary | Add Synopsis

Taglines:

Save your lipstick, girls, he plays for keeps.

Genres:

Crime | Film-Noir | Drama

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

9 April 1946 (USA)  »

Also Known As:

Feind im Dunkel  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (FMC Library Print)

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

"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 »

Goofs

When Fred Foss gets up from the floor after the fight in the apartment, his toupee is clearly standing straight up and you can see the bald spot before he puts his hat on. See more »

Quotes

Kathleen: My father was a major-league umpire. Well, what else
[at the Tudor Penny Arcade]
Kathleen: can I beat you at?
Bradford Galt: What other kinds of games do you like to play? You know, we've got some great playgrounds up around 52nd Street.
Kathleen: Among them your apartment?
Bradford Galt: Why, just a coincidence.
Kathleen: I haven't worked for you very long, Mr. Galt, but I know when you're pitching a curve at me, and I always carry a catcher's mitt.
Bradford Galt: No offense. A guy's got to score, doesn't he?
Kathleen: Not in my league. I don't play for score, I play for keeps ...
See more »

Connections

References The Thin Man (1934) See more »

Soundtracks

Mood Indigo
(uncredited)
Music by Barney Bigard and Duke Ellington
Played when Stauffer is breaking into Brad's apartment
See more »

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User Reviews

A Study In Contrasts
5 April 2006 | by (Dallas, Texas) – See all my reviews

Mark Stevens plays Bradford Galt, a depressed, New York City private investigator who is trying to forget his troubled past. But someone is tailing Galt for reasons unknown. Lucille Ball adds charm and flair to the story as Galt's faithful, resourceful secretary who invites herself into the detective's dilemma, which eventually leads to a wealthy art collector named Cathcart, played by the suave, and always engaging, Clifton Webb. It's a sordid tale of deceit and murder, expressed visually in typical 1940's film-noir style.

Galt's surroundings are drab and dreary, in marked contrast to the lush, opulent environment of Cathcart and his elitist friends. Director Henry Hathaway leaves no doubt as to where his sympathies lie. It's the late 1940s, and the proletariat class, represented by Galt, is honest and hard working, and up against society's corrupt rich.

In contrast to other film detectives of that era, like Philip Marlowe and Sam Spade, Galt is somewhat plaintive and vulnerable, but these traits make him more sympathetic, even though he can deliver a mean punch when called for.

The film's high-contrast B&W cinematography is striking. It emphasizes harsh lighting, deep shadows, and two-dimensional silhouettes. This visual style, together with occasional sounds of jazz, conveys a dissonance we would expect in a post-WWII environment of the urban underworld. When combined with a story of one man up against sinister forces, these cinematic elements, taken as a whole, communicate a philosophy of existentialism.

For viewers who like heavy-duty 1940's noir films with interesting characters, good acting, and striking cinematography, "The Dark Corner" is one of the better choices.


17 of 19 people found this review helpful.  Was this review helpful to you?

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