Former juvenile star William Henry is the all-grown-up hero of "Federal Man". Henry is cast as a government agent, who dogs the trail of illegal narcotics peddlers. This requires several trips south of the US-Mexico border and back again.


(as Robert Tansey)


(original screenplay), (original screenplay)

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Complete credited cast:
Agent Phil Sherrin
Mrs. Judith Palmer
Chief Agent Charles Stuart
Agent Johnson
Lolita Martinez / Montez (as Movita Castaneda)
Lori Irving ...
Betty Herbert - elevator operator
John Laurenz ...
Rodriguez - Mexican Agent
Ben Moselle ...
George Eldredge ...
Wade Brandon
Noel Cravat ...
Paul Hoffman ...
George Hodge - garage 'front man'
Jack 'Sneeze' Norton (as Joseph Turkel)
Bill Edwards ...
Agent George Palmer (as William Edwards)
William F. Leicester ...
Frankie Lanessi (as William Lester)


A government agent, who dogs the trail of illegal narcotics peddlers. This requires several trips south of the US-Mexico border and back again. During these trips, he meets people like the tough femme-fatale Judith Palmer and lead smuggler Harry. Written by Robert

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Release Date:

21 June 1950 (USA)  »

Also Known As:

Narcotics Agent  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

Aspect Ratio:

1.37 : 1
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User Reviews

Strictly Low-Budget
4 December 2009 | by (Claremont,USA) – See all my reviews

This cheap little indie touches the semi-documentary bases at a time when Hollywood was boosting the image of federal agencies in general. After all, the Cold War was heating up; at the same time organized crime was growing, so who better than the FBI, DEA, Treasury Men, et al. as heroes for a new kind of documentary style. Many classics emerged from this period: T-Men (1947), Naked City (1948), Border Incident (1949). The better ones blended elements of noir with documentary naturalism to produce unusual effects.

This 1950 production echoes many clichés of the period (murdered agent, cutting edge technology, a Mr. Big et al.). But it's clearly a shoestring affair despite good intentions. At the same time, the lighting looks more like unpaid utility bill than noirish light and shadow. Nonetheless, the parking lot location shots provide good glimpse of Detroit's assembly line product, circa 1950. The screenplay manages some tension, but that final shootout looks poorly staged, as if no one fears getting hit. Strictly a low-grade effort at cashing in on a popular trend.

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