A New York City detective, traveling by train between New York and Baltimore, tries to foil an on-board plot to assassinate President-elect Abraham Lincoln before he reaches Baltimore to give a major pre-Inauguration speech in 1861.
Dick Powell stars as Haven, a government private investigator assigned to investigate the murders of two cavalrymen. Travelling incognito, Haven arrives in a small frontier outpost, where ... See full summary »
An ex-police/army dog (German Shepherd), named Rex inherits a fortune from an eccentric millionaire. But someone poisons him for his fortune, and he gets to go back to earth as a human ... See full summary »
Hot-tempered Kathleen Maguire enlists the services of a young attorney to help her zookeeper father get his job back after he is fired for political reasons. In the midst of uncovering ... See full summary »
Rocky Mulloy, back in town after serving 5 years of a life sentence for armed robbery, hopes to clear his friend Danny Morgan who's still in prison for the same crime. It won't be easy. Even the witness who cleared Rocky thinks he's guilty; Danny's glamorous wife Nancy, living in a sleazy trailer court, seems lukewarm about getting Danny back; cynical cop Gus Cobb just wants to stir things up in hopes that the missing "hot" $100,000 will surface. Plenty of tough talk, night scenes, deceptive dames and double crosses in this typical film noir. Written by
Rod Crawford <email@example.com>
Excellent location filming, combined with a compelling script and great acting - a definite must-see for "film noir" fans. My only complaint is the somewhat stale performance by Rhonda Fleming - I think they needed somebody a bit more "earthy" for the part. Richard Erdman and Jean Porter are excellent in their supporting roles.
It was rare in 1951, to see so many actual locations in a film, but this is obviously a low-budget enterprise. Plus, the nature of "noir" is almost always to utilize reality, as opposed to artifice. I did notice some sloppiness with the usage of studio sets; the interiors of the trailers were, of course, sets, and many times when characters exit, the blank studio wall is clearly visible.
One goof occurs when Powell's character drops off Fleming at her office. As the car drives away, the cameraman is clearly visible in the window's reflection. Of course, who knew then that a viewer would eventually be able to freeze-frame a shot?
Great film.....highly recommended.
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