Matt Brennan runs into Jo Holloway, the Red Cross girl he romanced in Europe when he was a flyer in World War II, when he is offered a job by jet manufacturer Leland Willis as a test pilot.... See full summary »
Millionaire Turner, on his deathbed, leaves a million to Jane Barker. A movie addict who believes life is like the movies, marries Donn without telling him about the bequest. Turner gets ... See full summary »
Frederick De Cordova
Three time loser Duke Berne risks life in prison with one more armored car robbery. His attorney's wife Lorna, Berne's old sweetheart, keeps him from it but he goes to jail anyway. Duke and... See full summary »
Rip Murdock and Johnny Darke are en route to Washington when Johnny disappears and then turns up dead. Rip learns that Johnny had been accused of murder and sets out to find out what he can. He falls in love with Coral whose husband Johnny is supposed to have killed. Written by
Ed Stephan <email@example.com>
When Murdock is listening Coral to sing, he leans his left elbow on the table and puts his hand to his face. In the next shot, before she stands up, his left hand is on the table. See more »
Captain Warren 'Rip' Murdock:
Johnny, why don't you get rid of the grief you got for that blonde, whoever she is? Every mile we go, you sweat worse with the same pain. Didn't I tell you all females are the same with their faces washed?
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One of Bogart's best, a brutal Film Noir with a surprising ending, & filled with sharp, witty dialog. Lizabeth has never looked more beautiful than here, & although her acting ability is overmatched by Bogart, she would improve in her later films & she's adequate in this role. There's glimpses of the basic "Maltese Falcon" plot here: Bogey searches out & seeks revenge for his partner, even some of the dialog is similar in that respect. If you like Bogart or if you like Film Noir, you can't go wrong with this one! And by the way, this is a REAL Film Noir, not in the newer use of this phrase (recently, people have been calling any B&W crime drama made in the 1940s a "Film Noir"). This film has all the classic Film Noir elements: lots of shadows & stark contrasts (in the beginning, Bogart speaks from shadows so dark that one can hardly see his face), a spoken narrative, a "hero" who works outside the law, a murder mystery, & a heroine who may not be a heroine.
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