37 user 15 critic

Follow Me Quietly (1949)

An obsessed cop tracks an elusive serial killer who strangles his victims on rainy nights.


(as Richard O. Fleischer)


(screenplay), (story) | 1 more credit »
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Complete credited cast:
Dorothy Patrick ...
Police Sgt. Art Collins
Charles D. Brown ...
Police Insp. Mulvaney
Edwin Max ...
Charlie Roy aka The Judge
J.C. McGill
Archie Twitchell ...
Dixon (as Michael Branden)
Douglas Spencer ...
Phony Judge


For six months, a strangler has terrorized the city. Calling himself The Judge, he's a self-appointed destroyer of 'evil' who only strikes on rainy nights. Police Lieut. Harry Grant is obsessed with catching him but has failed so far, despite varied clues. And now Harry is further hampered by attractive tabloid reporter Ann Gorman dogging his footsteps. Compactly crafted film with some effective thrills. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis


Police baffled by the FACELESS KILLER!


Approved | See all certifications »




Release Date:

14 July 1949 (USA)  »

Also Known As:

L'assassin sans visage  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Right before Harry takes a shower he is the bathroom putting on a night shirt for bed. Then he closes the door and takes a shower. See more »


J.C. McGill: I always wanted to throw something out of that window. Ha, I didn't know it would be me.
See more »

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User Reviews

Assassin without a face
29 November 2006 | by (London, England) – See all my reviews

Until I saw it listed in a French DVD catalogue, I didn't even remember that "Follow Me Quietly" existed. Picking it up more out of completism because of its co-story credit for Anthony Mann (who may have directed some sequences) than out of hope, it turned out to be a highly enjoyable sleeper. True, it's little more than a highly disposable studio programmer, but it moves briskly along at just over an hour and is filled with memorable moments, be it a newspaper editor dictating the story of his own murder or a conversation with a dummy of a faceless serial killer that has a neat payoff that has no bearing on the rest of the film whatsoever beyond just being a good scene. There's some fun in the sparring between William Lundigan's cop and Dorothy Patrick's rookie reporter for a downmarket crime magazine that owes much to director Richard Fleischer's neat touch with dialogue that would be much better utilised on The Narrow Margin. Mann's signature is evident in the finale, prefiguring his beloved mountain/canyon shootouts by having the finale take place in a chemical factory's gantries and platforms. Nothing special, but just the welcome sight of pros doing their job much better than anyone asked them to. For once the French title, Assassin Without a Face, seems a better fit than the American, the relevance of which only becomes apparent in the penultimate scene.

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