The editor of a New York exploitation newspaper meets the wife he had abandoned years ago, while using another name, at a LonelyHearts ball sponsored by his newspaper. She threatens to ... See full summary »
Joe Sullivan is itching to get out of prison. He's taken the rap for Rick, who owes him $50 Grand. Rick sets up an escape for Joe, knowing that Joe will be caught escaping and be shot or ... See full summary »
The big national crime syndicate has moved into town, partnering up with local crime boss Nick Scanlon. There are only two problems: First, Nick is the violent type, preferring to do things... See full summary »
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.
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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