Julia Ross secures employment, through a rather-noisy employment agency, with a wealthy widow, Mrs. Hughes, and goes to live at her house. Two days later, she awakens in a different house ... See full summary »
Joseph H. Lewis
Dame May Whitty,
"Night Editor" was based on the already existing radio program in which a newspaper editor would recount the 'inside story' of some bit newspaper story, and later became a television series... See full summary »
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 »
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>
The little girl with the slide whistle informs Kathleen Stewart and Bradford Galt that the man they are following has gone to "get cascara at a gallery." It turns out the child has misunderstood the name "Cathcart Gallery," but before Stewart and Galt realize this, they speculate about their quarry's health, and agree that "you can't get cascara at a gallery." Cascara is a laxative made from the bark of the cascara tree. 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 »
There goes my last lead. I feel all dead inside. I'm backed up in a dark corner, and I don't know who's hitting me.
See more »
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.
20 of 22 people found this review helpful.
Was this review helpful to you?