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Storyline
Laura Mansfield's father is killed, apparently by a telegraphic messenger. She spots Jackie Wales in a police lineup, but can't identify him positively. Later, she arranges to meet him, and is convinced he was the killer, but he was acting for someone else. She gets to know Jackie to find out who the boss is, taking a job in the Vogue Club, owned by a man named Armitage. Meanwhile, Alice, Armitage's greedy mistress, goes after Jackie and lures him into blackmailing the nightclub owner. Armitage discovers the betrayal, and kills the two, but Laura schemes to get closer so she can prove him guilty. Written by
Mike Rogers <MICHAELPEM@aol.com>
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Goofs
When Alice and Laura are talking in the Ladies' Room, the position of Laura's cigarette tray changes depending upon whether the shot is of the reflection in the mirror or is from the other side of the room.
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Connections
Features
Corregidor (1943)
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Soundtracks
"Palace Of Stone"
Written by James Springs
Performed by
Steve Gibson and Steve Gibson's Redcaps
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The film carries the RKO banner, but it's not an RKO production. That studio's great production unit knew how to make noirs. This independent production released by RKO apparently knows little. The film is almost a complete misfire from muddled script, to lackluster direction, to absent style, to the waste of Albert Dekker, Hurd Hatfield, and John Dehner. In fact, the ordinarily competent James Flavin almost sounds like he's doing his cop dialogue by the numbers. Please, if you can make sense of the story line, there's a place for you in the MIT physics department, (did writer Martin forget what he had written from one day to the next). And who in the heck held the gun to Dekker's head in such an embarrassing piece of Jekyll and Hyde that it's likely the low point of his career. Add to that the staging of a final scene so clumsily done, it parodies the real thing. Yes, there are some novel ideas trying to survive, (just what is the relationship between Armitage and Stretch). But unfortunately they're buried in a tangle of half-ideas, never to see the light of day. I have the utmost respect for RKO's great noir tradition. But releasing this misbegotten indie could have threatened the whole concept. The only good thing is the really smooth jazz combo who should have gotten the entire 70 minutes instead of just five.