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>
Restoration was complicated because by the early 2000's, Paramount Pictures owned the rights to the film but had no prints or negatives and Warner Bros. had prints, but no rights. Fortunately, both companies co-operated. See more »
As Rocky drives away after dropping Nancy off at work, the cameraman and camera are reflected in the car's rear window glass. See more »
Excellent location filming, combined with a compelling script and great acting - a definite must-see for "film noir" fans. My only complaint is the somewhat stale performance by Rhonda Fleming - I think they needed somebody a bit more "earthy" for the part. Richard Erdman and Jean Porter are excellent in their supporting roles.
It was rare in 1951, to see so many actual locations in a film, but this is obviously a low-budget enterprise. Plus, the nature of "noir" is almost always to utilize reality, as opposed to artifice. I did notice some sloppiness with the usage of studio sets; the interiors of the trailers were, of course, sets, and many times when characters exit, the blank studio wall is clearly visible.
One goof occurs when Powell's character drops off Fleming at her office. As the car drives away, the cameraman is clearly visible in the window's reflection. Of course, who knew then that a viewer would eventually be able to freeze-frame a shot?
Great film.....highly recommended.
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