The US secret service goes after a counterfeit ring, whose engraver Eugene Deane has covertly constructed his plates while serving a life sentence in San Quentin. In order to infiltrate the...
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The wife of an alcoholic writer must take a job as a taxi driver to make ends meet. A young man she picks up as a fare befriends her, but when her husband is found murdered, the police suspect she and her new "friend" committed the murder.
The proprietor of an ice-skating revue promotes a peanut-vendor at the show to a management position based on suggestions he made to improve the act of the show's star, who also happens to ... See full summary »
The US secret service goes after a counterfeit ring, whose engraver Eugene Deane has covertly constructed his plates while serving a life sentence in San Quentin. In order to infiltrate the gang, federal agent John Riggs poses as an Eastern kingpin who wants to purchase a large quantity of the fake currency. During his investigations he falls in love with beautiful Nora Craig...Written by
During the opening montage, there is a shot of a theatre marquee advertising "Red River." Editor Christian Nyby obviously inserted this as an inside-joke hat-tip to himself and cinematographer Russell Harlan, both of whom worked on both pictures. See more »
About 3:30 minutes before the end of the picture, John Riggs is shot in the right shoulder. 30 seconds later, he is seen clutching his left shoulder. See more »
Pacy T-Man movie from the director of STRANGER ON THE THIRD FLOOR.
Pacy T-Man movie, one of only three directed by Boris Ingster, whose STRANGER ON THE THIRD FLOOR is held by many to be the film which kicked off the 'film noir' cycle. A narrative voiceover lends a pseudo-documentary air to the tale of a square-jawed treasury agent, John Riggs (Don DeFore), who is tasked with cracking a counterfeiting ring initiated by a dying master forger from inside his jail cell. Once on the trail, Riggs adopts a false identity in the hope of ingratiating himself with the crooks, and this brings him into contact with larcenously inclined hotel manageress Nora Craig (Andrea King). Although this is fairly standard stuff, with the rather annoying voiceover failing to ratchet up the tension as it did in Kubrick's THE KILLING, Russell Harlan's often moody location cinematography (see also GUN CRAZY & RIOT IN CELL BLOCK 11) and King's hardboiled femme, together with one or two nifty, if contrived, twists make this a worthwhile diversion for fans of noir obscura.
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