Jenny Marsh, still dangerously attractive after 5 years in prison for killing a man in defense of her shady lover Harry, clashes at first with parole officer Griff Marat, who's determined ...
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A man seeks revenge but will he destroy himself in the process? After a long jail term for a crime he did not commit, a man is torn between revenge (which will probably destroy him) or ... See full summary »
A serial killer in London is murdering young women whom he meets through the personal columns of newspapers; he announces each of his murders to the police by sending them a cryptic poem. ... See full summary »
Sam Hurley, "Nation's No. 1 killer" with a cold contempt for "heroes," escapes prison with two companions and takes a mixed bag of hostages to Nevada ghost town Lost Hope City. He knows ... See full summary »
Jenny Marsh, still dangerously attractive after 5 years in prison for killing a man in defense of her shady lover Harry, clashes at first with parole officer Griff Marat, who's determined to make Jenny go straight. For lack of other prospects Griff finds Jenny a job in his own home, and his objectivity about her wavers, while Jenny continues to meet Harry secretly. However, when Jenny transfers her affections from Harry to Griff, the situation becomes even more dangerous... Written by
Rod Crawford <email@example.com>
Director Douglas Sirk signed to make this film on the basis of Sam Fuller's original screenplay, which was called "The Lovers" and ended in a shoot-out. Co-producer Helen Deutsch rewrote the script and added a cop-out ending Sirk disliked. Sirk later said Deutsch's script changes ruined the film by depriving it of the sense of doom in Fuller's original story. See more »
Following the opening credits the camera pans onto the kerb edge of the road which reads HOLLYWOOD BLVD. See more »
Released from prison after five years for killing a man to protect her gambling lover (John Baragrey), hard case Patricia Knight comes under the purview of parole officer Cornel Wilde. Trying to keep her from the clutches of the still-infatuated Baragrey, Wilde moves her into his household as companion to his blind, widowed mother. Inevitably they fall in love and wed secretly, since marriage is a violation of parole. Not one to read a Dear John letter lightly, Baragrey attempts to blackmail Knight with old billets-doux but is shot in a struggle. Wilde, on the verge of turning her in, relents, and, in a long sequence that was reprised almost exactly two years later in Tomorrow is Another Day, joins her on the lam, making ends meet as a day-laborer and living in shacks. But the strain of poverty and fear of apprehension begin to corrode....
Douglas Sirk, later to reach fulfilment in lushly overwrought melodramas like Written on the Wind, shows a nice flair for the conventions of noir in this well scripted and acted film, which maintains its integrity until its rabbit-out-of-the-hat ending -- surely not the one penned by co-scenarist Samuel Fuller. (The title, by the way, seems basically meaningless but to have been chosen for its purely abstract, noirish resonance.)
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