A serial killer in London is murdering young women he meets through the personal columns of newspapers. He announces each of his murders to the police by sending them a cryptic poem. After ... See full summary »
A man is found murdered, with witnesses convinced about the woman they saw leaving his apartment. However, it becomes apparent that the woman has a twin, and finding out which one is the killer seems impossible.
Olivia de Havilland,
Private investigator Bradford Galt has moved to New York from San Fransisco after serving a jail term on account of his lawyer partner Tony Jardine. When he finds someone is tailing - and possibly trying to kill him, Galt believes Jardine is behind it. As he finds there is rather more to it, he is increasingly glad to have his attractive new secretary Kathleen around, for several reason.Written by
Jeremy Perkins <email@example.com>
The little girl with the slide whistle informs Kathleen Stewart and Bradford Galt that the man they are following has gone to "get cascara at a gallery." It turns out the child has misunderstood the name "Cathcart Gallery," but before Stewart and Galt realize this, they speculate about their quarry's health, and agree that "you can't get cascara at a gallery." Cascara is a laxative made from the bark of the cascara tree. See more »
A newspaper ad mentions that a Cathcart Gallery exhibition is by Invitation Only, but then why would it be advertised in the paper? See more »
"I feel all dead inside . . . backed up in a dark corner . . . and I don't know who's hitting me."
So Mark Stevens' Brad confesses to secretary-girlfriend Lucile Ball's Kathleen.
This particular dark corner has many angles, shadows and turns, as the two go sleuthing in search of an elusive villain--Clifton Webb's Hardy. Along the way Hardy's "hitman," Stauffer (William Bendix) gets the "ax," as the audience maintains rapt attention.
A nicely turned crime script by Jan Drather and Leo Rosten is given slick credibility by Director Henry Hathaway. The "Manhattan Melody" theme, used in so many New York drama films of the 40s, was first heard here. It was part of Cyril Mockridge's original score, so evocative of "big city pre-dawn street scenes" that it became a motif of dozens of similar efforts.
The film also showed what Ball could do in a straight dramatic role, and she proved quite capable of holding her own. Webb, forever "effete personified," offers a polished performance, while Bendix contrasts as the perfect "mug."
A "whodunit" worthy of a studio that produced loads of neat "forties thrillers": 20th Century Fox.
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