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Railroaded! (1947)

6.7
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Ratings: 6.7/10 from 963 users  
Reviews: 25 user | 15 critic

A beautician and her crooked boyfriend attempt to rob the bookie operation located in the back room, but when the plan goes wrong, they frame an innocent man.

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Cast

Complete credited cast:
...
Sheila Ryan ...
Rosie Ryan
...
Police Sgt. Mickey Ferguson
Jane Randolph ...
Clara Calhoun
Ed Kelly ...
Steve Ryan
Charles D. Brown ...
Police Capt. MacTaggart
Clancy Cooper ...
Detective Jim Chubb
Peggy Converse ...
Marie Weston
Hermine Sterler ...
Mrs. Ryan
Keefe Brasselle ...
Cowie Kowalski
Roy Gordon ...
Jackland Ainsworth
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Storyline

Sexy beautician Clara Calhoun, who has a bookie operation in her back room, connives with her boyfriend, mob collector Duke Martin, to stage a robbery of the day's take. But the caper turns violent; a cop and Duke's partner are shot; and Duke arranges for innocent Steve Ryan, owner of the car they stole, to be framed. At first homicide detective Mickey Ferguson thinks Steve is guilty, despite his attraction to Steve's sister Rosie. And the suave but ruthless Duke won't hesitate to keep it that way with more of his perfumed bullets... Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

The face of danger was the face of the man she loved! See more »

Genres:

Crime | Drama | Film-Noir

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

25 September 1947 (USA)  »

Also Known As:

Uncertain Guilt  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Re-titled, and edited down to less than thirty minutes, it was sold to television in the early 1950's as part of a syndicated half hour mystery show. See more »

Goofs

When Detective Ferguson is reading Duke Martin's criminal record, it shows Duke's Date of Arrest as 7-2-44, but his Date of Birth as 11-14-44, implying that he was arrested 4 months before he was born. See more »

Quotes

Doc, Police Criminologist: They're a lot of nice people running around, Doc.
Police Sgt. Mickey Ferguson: Yep, Mickey. You know, they're only two kinds of animals that make war on their own kind - rats and men... and men are supposed to be able to think.
Police Sgt. Mickey Ferguson: I think you've got something there, Doc.
See more »

Connections

References Quick Millions (1931) See more »

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User Reviews

 
Some amazing stuff here. Forget the formula backdrop. This one propels.
28 December 2010 | by (United States) – See all my reviews

Railroaded (1947)

An almost amazing movie, well made, beautifully photographed, held back by a stiff script but still it manages. And it has a dark current that makes it both creepy and contemporary. Director Anthony Mann seems to have made a dozen great films that are just under the radar, noirs and westerns that have some edge to them to keep them from falling into the abyss of their genres.

This is Mann at his mature earliest. He had made a few films in the earlier 40s, but this, along with "Desperate," marks his coming into his own. Yes, you might find too much of a formula at work here, but it's not derivative, just a little stilted in the dialog. And yes, you might ask, near the beginning, why the cops couldn't see how easy the frame up would be (anyone could have stolen the truck and committed the crime), but remember, this one fact was supported by several others, including an eyewitness confirmation. So, once over these humps, you are for a good ride.

Who to watch for amongst these relative unknowns? John Ireland, most of all, for his bad guy personification, all charm and heartlessness, simultaneously. His girlfriend, played by Sheila Ryan, is his match, in a sharp performance also dripping with selfish cruelty, but tempered, critically, by doubt and remorse.

The third star is the little known cinematographer Guy Roe, who must have been inspired by the young, rising director. The filming right from the opening, subtle crane shot of the beauty parlor facade is artfully gorgeous without becoming baroque the way Orson Welles had become (beautifully) by 1947 with "The Lady from Shanghai." Both are great examples of where the movies were just after the war, both with a dark, brooding, searching uncertainty. And both showing off the amazing movie-making machinery of post-War Hollywood. I say this because both films were smaller budget affairs, and yet they have uncompromised production.

Give this a serious look. It's imperfect, for sure, but it has such high points, including some dark dark filming that is so kinetic and scary it surprised even an old film noir fan like me, you'll be glad.


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