Christabel fools everyone with her sweet exterior including her cousin Donna and Donna's wealthy fiancée Curtis. The only one who sees through her facade is Nick, a rugged writer who loves ... See full summary »
Based on James Barrie's play "Alice Sit-By-The-Fire". In turn-of-the-century New York, a young girl who believes she's learned "the seamy side of life" from a risque play takes it upon ... See full summary »
An industrialist (Joseph Cotton) and a pianist (Joan Fontaine) meet on a trip and fall in love. Through a quirk of fate, they are reported dead in a crash though they weren't on the plane. ... See full summary »
At the Tangier airport, a group of people await the arrival of a mysterious plane from behind the Iron Curtain. The reception committee includes Susan, an American; Gil Walker, a ... See full summary »
Charles Marquis Warren
Police detective Joe Warner investigates the shooting of womanizing composer Keith Vincent. Evidence points to suicide and that is the official verdict, but Joe doesn't buy it and ... See full summary »
Bill Saunders, disturbed ex-soldier, kills a man in a postwar London pub brawl. Fleeing, he hides out in the apartment of lonely nurse Jane Wharton. Later, despite misgivings about his violent nature, Jane becomes involved with Bill, who resolves to reform. She gets him a job driving a medical supplies truck. But racketeer Harry Carter, who witnessed the killing, wants to use Bill's talents for crime. Written by
Rod Crawford <email@example.com>
Lancaster wanted to retain the novel's title in order to capitalize on its success. Universal and the MPAA had problems with it, so the studio tested "Blood on My Hands" and "Blood on the Moon." It eventually premiered under the more innocuous "The Unafraid" but eventually reverted back to the book's original title. See more »
The story takes place in England, where automobiles and trucks are right-hand drive; but the truck Bill drives is left-hand drive. See more »
[to Bill Saunders]
... furthermore, although these appear to be first offenses, in view of the brutal nature of the assault, I have no alternative but to direct that you receive eighteen lashes of the cat-o'-nine-tails.
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KISS THE BLOOD OFF MY HANDS (Norman Foster, 1948) **1/2
Burt Lancaster's seventh film (and sixth noir!) 'relocates' him to London where he is an ill-tempered Canadian seaman and former WWII P.O.W. who accidentally kills the bartender of a pub for curtailing his boozing at closing time; a fellow patron (played with customary hamminess by the one and only Robert Newton) witnesses the event and plagues Lancaster throughout the picture to act as 'inside man' in a pharmaceutical robbery. This turn of events comes about through Lancaster's improbable relationship with a besotted nurse (Joan Fontaine) in whose flat he first takes refuge. Despite an evocative title, appropriately moody camera-work and musical accompaniment (courtesy of Russell Metty and Miklos Rozsa) and even a couple of Wellesian directorial touches (read tilted camera angles) thrown in for good measure by Norman Foster whose best-known credit remains JOURNEY INTO FEAR (1943) the film faces an insurmountable hurdle in the unconvincing central romance that culminates in an exceedingly phony redemptive ending. More's the pity, therefore, that this finale had just been preceded by the film's best sequences which depict Newton's double-death at the separate hands of first Fontaine and later Lancaster!
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