Bachelor Harry Quincey, head designer in a small-town cloth factory, lives with his selfish sisters, glamorous hypochondriac Lettie and querulous widow Hester. His developing relationship ... See full summary »
On trial for murdering his girlfriend, philandering stockbroker Larry Ballentine takes the stand to claim his innocence and describe the actual, but improbable sounding, sequence of events that led to her death.
Leopold Kroner, formerly of Colby Enterprises, is released after five years in prison for embezzlement. Andrew Colby, claiming that Kroner has threatened him, hires lawyer Bob Regan as a secret bodyguard. Sure enough, Kroner turns up in Colby's room with a gun, and Regan kills him. Then Regan, who sticks around to romance Colby's secretary Noel, begins to suspect he's been used.Written by
Rod Crawford <firstname.lastname@example.org>
The Web is directed by Michael Gordon and collectively written by William Bowers, Bertram Millhauser and Harry Kurnitz. It stars Edmond O'Brien, Ella Raines, William Bendix and Vincent Price. Music is by Hans J. Salter and cinematography by Irving Glassberg.
A good and solid film noir from one of the golden years of the film making style. Plot pitches O'Brien as a small time lawyer, who after impressing crafty businessman Vincent Price with his commitment to his work, gets hired as a minder since Price is worried about an old associate who has apparently issued a death threat. Sure enough all is not as it seems and before long O'Brien finds himself under scrutiny for the death of the associate.
The writing isn't great as per the twists and turns, they are all signposted and lit up in bold letters, yet this is a small complaint because the fun is in the characterisations and the scripted dialogue. O'Brien has the quips and bravado, Raines the sexy smoulder and Price the weasel machinations. Bendix as a good cop is a little too out in the periphery of things to truly impact on the narrative in the way his fans would like, but his scenes with O'Brien are a joy and sparkle with prickly sarcasm, while Gordon and Glassberg bring the film noir style via the requisite amount of shadow play and camera tilts (love those slats and balustrades).
Nifty noir tech credits cosy up with a likable hero, a sassy femme, a slimy villain and big bad Billy Bendix = Score! 7/10
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