A woman secretly suffering from kleptomania is hypnotized in an effort to cure her condition. Soon afterwards, she is found at the scene of a murder with no memory of how she got there and seemingly no way to prove her innocence.
Eric Stanton (Dana Andrews), thrown off a bus for not having the fare, begins to frequent a diner called "Pop's Eats" , whose main attraction is a beautiful waitress by the name of Stella seems disinterested in Eric, he decides if he had money she would pay attention to his advances. He marries June Mills ( Alice Faye ) for her money, and Stella is mysteriously murdered. Even though June learns of Eric's dishonest plans, she still loves him. It is with her support that he investigates the killing on his own, eventually discovering the shocking identity of the real killer.Written by
Marc Andreu <firstname.lastname@example.org>
While on their date, Dana Andrews and Alice Faye exit a movie theater and walk past a Rexall Pharmacy. Beginning less than a year after the film was released, Faye would co-star on a weekly radio show with her husband Phil Harris, sponsored by Rexall. See more »
Among the works listed on the church reader board for June Mills's upcoming organ recital are a Stabat Mater by Beethoven and a Requiem by Brahms. Beethoven never wrote a Stabat Mater, and the only Requiem by Brahms is a massive choral work, highly unlikely to be played as an organ solo. See more »
I'm not going.
Not going? What's wrong?
Nothing. You go ahead. I'll meet you.
But Eric - we need you for the advance publicity. San Francisco's a tough town on spooks.
Come on! hit 'em like the earthquake!
When I feel like it. I made it clear to you when I took this job. You can't tie me down. Cramps my style. I always work best when a certain feeling comes over me, and right now I haven't got it.
[under his breath]
Eric my boy, you're an artist. You have my sympathy. And a bus ...
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The opening credits appear on the screen as a series of road signs seen through the windshield of a bus driving at night time. See more »
Those who continue to place the over-rated Otto Preminger in the pantheon of great film auteurs can certainly point to this stylish film as a splendid example of this erratic director's talent at its prime. Before Preminger became famous as the self-promoting independent director/producer of controversial, censorship-busting films, he was under contract to Fox studios where he had the good fortune to be surrounded by many of the gifted technicians Zanuck had hired --foremost among them the staff cinematographer Joe LaShelle (Oscar for "Laura") whose shadowy lighting and inventive long moving camera takes add enormously to the "noir" atmosphere of this film. As always, there is no way to tell whether LaShelle or Preminger came up with these images, but they are exceptional. What's more, the film is perfectly cast down to the smallest role: Linda Darnell is particularly effective as the slutty tough girl who knows what she wants; and Alice Faye, having put on a little weight since her Don Ameche musical days, looks and acts exactly like a lonely and desperate woman of a certain age who can't help loving the wrong man. Unfortunately, the plot has even more holes in it than the average swiss-cheese film noir of its day, but if you are willing to suspend lots and lots of disbelief this film has many wonderful atmospheric moments. Today lots of people think that Preminger was a consummate cinematic con-artist. In this film, for once, the artist outweighed the con.
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