Thornton Sayre, a respected college professor, is plagued when his old movies are shown on TV and sets out with his daughter to stop it. However, his former co-star is the hostess of the TV show playing his films and she has other plans.
Julia Ross secures employment, through a rather nosy employment agency, with a wealthy widow, Mrs. Hughes, and goes to live at her house. 2 days later, she awakens - in a different house, ... See full summary »
Police surround the apartment of apparent murderer Joe Adams, who refuses to surrender although escape appears impossible. During the siege, Joe reflects on the circumstances that led him to this situation.
Barbara Bel Geddes,
Shortly after WWII, flashbacks tell the story of Marise, her husband Paul, and Jean, who was imprisoned with Paul in a German camp. While attempting to escape from the camp Paul is shot, ... See full summary »
In Brooklyn, fishing is the hobby of the workers Jonah Goodwin and Olaf Johnson and they use to fish every night in their old boat. Jonah's daughter is the twenty-one year-old telephone ... See full summary »
There is a scene where we see a framed photo of a man on a mantle. The photo is of director William Castle. Another scene features a man named "Mr. King" being paged; the producers of the film are both named King. See more »
Check out that unsettling scene in the lonely police waiting room. Little guy Houser (Lubin) sits on one side and vulnerable newly-wed Millie (Hunter) sits on the other with a big empty space between. It's a great visual metaphor for the danger facing our young stranger in the city. A hostile world appears on one side and poor Millie all alone on the other. Even little things work against her in the big, impersonal surroundings—the unhelpful news guy, streetlights suddenly going out. Then too, those spare sets from budget-minded Monogram fairly echo with undefined menace.
From such atmospheric touches, it's not hard to detect the influence of Val Lewton's horror classic The Seventh Victim (1943). At the same time, the movie's director William Castle was a moving force behind the brilliantly unconventional Whistler series from Columbia studios. So the many imaginative touches here, like the lunging lion's head that opens the film, should come as no surprise.
Despite the overall suspense, I had trouble following plot convolutions—who was where, when, and why. But then the screenplay did have four writers, which is seldom an asset. Still, the mysterious husband (Jagger) and Millie's suspicions does generate core interest. In my little book, the main appeal is in the players and the atmosphere, such as the winsome young Hunter, a virile young Mitchum, and the jazzy Harlem nightclub. All in all, the sixty-minutes remains a clever little surprise from poverty row Monogram.
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