Jim Fletcher, waking up from a coma, finds he is to be given a court martial for treason and charged with informing on fellow inmates in a Japanese prison camp during WWII. Escaping from ... See full summary »
An insurance lawyer unhappy with his rate of company advancement becomes a middleman in deals to recover stolen property from the Mob, thus earning a nice living. But his actions attract police attention and set him up for a double-cross.
Rocky Mulloy, back in town after serving 5 years of a life sentence for armed robbery, hopes to clear his friend Danny Morgan who's still in prison for the same crime. It won't be easy. Even the witness who cleared Rocky thinks he's guilty; Danny's glamorous wife Nancy, living in a sleazy trailer court, seems lukewarm about getting Danny back; cynical cop Gus Cobb just wants to stir things up in hopes that the missing "hot" $100,000 will surface. Plenty of tough talk, night scenes, deceptive dames and double crosses in this typical film noir.Written by
Rod Crawford <email@example.com>
Dick Powell, Rhonda Fleming, Regis Toomey, Richard Erdman, and Jean Porter star in "Cry Danger," a 1951 film directed by Robert Parrish. Powell plays Rocky Mulloy, an ex-con, recently released from prison after an alibi appears that clears him of a robbery/murder. The alibi is a Marine (Erdman) named DeLong who says that he and Powell were drinking together at the time the job was pulled. In truth, Powell didn't commit the crime. However, he has never seen this Marine before in his life. The Marine wants money from the robbery.
The two rent a trailer in a trailer park, where the wife (Rhonda Fleming) of his ex-partner, who is still in prison, lives. She's actually an old girlfriend of Rocky's and the two are still attracted to one another. Rocky goes after a bookie (William Conrad) who cheated him and unknowingly bets on a fixed race, is paid in the robbery money, which sends the police after him.
It's good to read the comments for this film and realize that many people appreciate the versatility and talent of Dick Powell. He was many things to many people - a wonderful singer, a great tough guy, a savvy businessman, a good director, and a marvelous producer who launched Sam Peckinpah and Aaron Spelling. Not all of his later films were "A" productions, but he was always excellent.
The performances by Erdman and Conrad are very good. Rhonda Fleming is her usual beautiful self, and Jean Porter plays a lively party girl.
This is a good noir that captures the atmosphere of post-war LA, the down and out side of it. It's exciting and a little unpredictable, too, enough to keep you watching.
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