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>
Third Avenue Railway System streetcars were still running in Manhattan at the time this movie was filmed, which explains the constant clanging of streetcar bells. A streetcar is seen going past the office window on an elevated track , right before Galt leaves for his showdown at the Cathcart Gallery. See more »
After Galt (Mark Stevens) has the scuffle with Jardine (Kurt Kreuger), Kathleen Stewart remarks to Galt that his jacket is torn at the shoulder. However it was ALREADY torn when the William Bendix character ran him down in the street. She sat directly across from Galt in the diner and couldn't have missed it the first time. See more »
The stain... The ink, baby, the ink. I smeared ink on his white suit up in my office.
What of it?
He'd have to have the suit cleaned, wouldn't he? The cleaners would have his address, wouldn't they?
Well, this is a pretty dirty town. Cleaning places grow on every street like mushrooms.
Yeah, but they don't do their own cleaning.
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.
23 of 25 people found this review helpful.
Was this review helpful to you?
| Report this