Scandal Sheet (1952)

Passed  |   |  Crime, Drama, Film-Noir  |  16 January 1952 (USA)
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Ratings: 7.4/10 from 931 users  
Reviews: 27 user | 16 critic

The editor of an exploitation newspaper commits a murder and assigns his protégé to investigate hoping to divert attention away from himself.



(screenplay), (screenplay), 2 more credits »
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Cast overview:
Mark Chapman aka George Grant
Julie Allison
Steve McCleary
Rosemary DeCamp ...
Charlotte Grant
Henry O'Neill ...
Charlie Barnes
Biddle (as Henry Morgan)
James Millican ...
Lt. Davis
Griff Barnett ...
Judge Elroy Hacker
Jonathan Hale ...
Frank Madison


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 expose him as a wife-deserter, wife-beater and an impostor, and, in anger, he hits her with his fist and accidentally kills her. Later, when her body is found, he assigns his protégé reporter to the story, as a good, exploitable follow-up story to the ball. And, then, he is forced to sit back and watch while the reporter slowly tracks down the killer. Written by Les Adams <>

Plot Summary | Add Synopsis


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Release Date:

16 January 1952 (USA)  »

Also Known As:

Skandalblatt  »

Company Credits

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Technical Specs


Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?


Lt. Davis: We got a new man on this beat that's built like you between the ears. He saw a hole in the back of the dame's skull and figured she was slugged.
See more »


Featured in The Typewriter, the Rifle & the Movie Camera (1996) See more »

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User Reviews

Solid suspense and well-paced
2 November 1999 | by (Pittsburgh, PA) – See all my reviews

Gripping storyline fueled by some heavy duty irony. Crawford plays a ruthless tabloid newspaper editor who has the tables turned on him when he commits a crime, then finds himself having to encourage his top reporter to get to the bottom of the story, in order to deflect suspicion. Top notch suspense as Crawford gambles that he can keep his cool and get away with it, even as the walls close in and the odds look worse and worse. The dialogue is typical Samuel Fuller, (he wrote the novel upon which the film was based) colorfully gritty but at times head-scratchingly obtuse. Crawford is at his no-nonsense, take no prisoners, mince-no-words best, and able support from a young John Derek and Donna Reed (smoking cigarettes and a little less squeaky clean than usual). Good stuff.

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