Andrew Garfield, Mahershala Ali, Ruth Negga, and five others received their first-ever acting nominations for 2017. While these actors are new to the Academy Awards, you may recognize them from their earlier work.
A well-known judge has become a fugitive from the police, with a large reward on his head. A reporter believes that the judge is hiding in a private sanitarium, so she seeks out a private ... See full summary »
Horace Vendig shows himself to the world as a rich philanthropist. In fact, the history of his rise from his unhappy broken home shows this to be far from the case. After being taken in by ... See full summary »
Mike Lambert, unemployed mining engineer, arrives in a small town with a bang when the brakes fail on the truck he's driving. After meeting seductive Paula at the La Paloma Cafe, he finds himself in trouble with the law. On the basis of a few burning glances, Paula pays his fine and finds him a room, but her motives are not what they seem. Mike lucks into a job with miner Jeff Cunningham, but against his will he's drawn ever deeper into Paula's schemes. Written by
Rod Crawford <firstname.lastname@example.org>
Before Mike Lambert (Glenn Ford) enters the tavern where Paula (Janis Carter) worked, his shirtsleeves are rolled up. He puts his suit jacket on over the rolled-up sleeves. When he enters the establishment, they are rolled down and buttoned neatly, sticking out of his jacket. See more »
Ford has the edge in shopworn knock-off of James M. Cain
FRAMED starts out with a bang, with Glenn Ford trying to steer a speeding truck with no brakes to its destination, but gradually it started to lose me as it sped along into increasingly illogical plot turns. Janis Carter plays the least appealing femme fatale I've ever seen in a film noir. (In any lineup of great ladies of film noir, her name has never come up.) Here she's plotting with her lover, a married banker (Barry Sullivan), to fake his death, retrieve the money he's embezzled, and head off to happier climes. But they need a patsy with no ties to substitute for the banker. And that's where Ford, a mining engineer looking for work, comes in. We're supposed to believe Ms. Carter can entice Ford, but he never displays anything but rank hostility in her presence. When he finally kisses her, it's more of a physical assault than an act of lust. When it comes to carrying out the death-faking part, they enact a scene straight out of DOUBLE INDEMNITY. The plan they adopt is so poorly thought out that even the most cursory police investigation would see through it.
Ford at least is punchy and irritable throughout, a side of him I've never quite seen before. He glares with the best of them and passes out drunk a couple of times. He's nice to Edgar Buchanan, though. And who wouldn't be? As silly as the proceedings get, it's never too predictable and moves at a fast clip throughout. This is low-end film noir, a far cry from James M. Cain and Raymond Chandler, but still worth recording off TCM and watching once. Barry Sullivan (whose centennial is tomorrow, August 29) plays a solid citizen with a corrupt core, a long way from the rugged western heroes he'd portray ten years later (e.g. FORTY GUNS), but closer to the antagonists he'd specialize in playing on TV dramas in the 1960s and '70s.
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