Reviews

A successful businessman is living out the American dream until his PTSD comes back in human form to reignite the memories that have haunted him since the war, ones that could contradict his shiny new persona. Though we might have seen these plot elements touched upon in slightly more superficial ways elsewhere, here they take on almost Shakespearean import - but in the taut wireframe of noir tropes. A nerve-wracking, nuanced and tense film, almost shot like a horror movie in certain moments, becomes a tragic one with a dark fatalistic outlook. The cast is tremendous, and there are some great scenes and shots - this is one for the ages. A must-see for any noir fan.

A ripped-from-the-headlines, cheap and seemingly simple abduction movie turns into quite the twisted story - meanwhile the kidnapper (Ralph Meeker) is caught and gets shanghaied into a prison break by unusual means - eventually heading back towards the scene of the original crime. After a humdrum start, things get more intriguing once Broderick Crawford and the other jailbirds appear. Throughout the story, the monotonous tones of the FBI procedural narrator inject themselves into the proceedings slightly jarringly as do some brutal scenes of violence (or implied violence). This B-movie, with its overall variety of styles, action, and locales, a slightly-above-average score, plus the familiar faces and tough-guy acting from some noir stalwarts like Ralph Meeker, Broderick Crawford and William Talman, satisfies quite well by the end. A solid flick.

Lonely and unassuming psychiatrist's assistant Ms. Kramer (Dorothy Lamour) overhears a dream being told that inadvertently gives an idea to her neighbour (and would-be lover) Karl Benson (Dan Duryea) who lives in the same building, working as a repo man and PI. This is an unusual not-quite-noir in that (a) there are three different detectives working on the case: one is a wise-cracking and comical police detective, one a maverick insurance investigator (Sterling Hayden - in a small role) and the third, a suspect himself, Karl the repo guy, (Dan Duryea) whose second job as PI comes in useful for his diabolical maneuverings, (b) the tone regularly switches between menacing violence and comedy scenes quite unabashedly which gives it that slight whiff of a parody and (c) the plot is fairly baroque (but not in a overly contrived manner) and leads to many flashbacks, and a wonderfully cruel twist of irony by the end. Lamour plays a more complex character than is apparent at first glance and does get her chance to strongly emote in more than one scene; however, both her and Hayden are underused and underdeveloped as there is quite a large cast of suspects to pay attention to - each of whom might hold a piece of the puzzle that could solve the mystery of the central crime. This is really Duryea's film whose character goes from intrusive slimeball to seriously psychopathically dangerous manipulator (esp. In one pivotal and memorable scene), and who by the end, turns out to have been too clever for his own good. Recommended. 6.5/10.

The opening credits show the prison break itself so this movie is all about the run for freedom. A rag-tag motley crew of inmates, none of whom seems to like the others much, crack under the tension of the chase in different ways and seem fated to never truly escape themselves. The atmosphere is doom-laden from the outset and becomes more tragic as it goes on. Rare moments of levity arise in a few contrastingly sentimental mini-subplots as certain women are encountered/accosted along the way - but here again there is a melancholic tone, the same one that runs through this tale from start to finish. A raw, gritty and fatalistic movie which is much better than it has any right to be! Recommended.

The noir plotting is nothing new here but some added ingredients and twists serve to keep this engaging till the end, A rich dame wants to lose her husband for her broke lover and schemes her way to get it manipulating every male in her vicinity - she's desperate, spiteful, jealous, mean and seductive - and her charm works, until it doesn't. The plot is slightly convoluted but everything comes together well in the end (though it is a tad abrupt). Plenty of tension and angst throughout and very serviceable acting from this quite large cast. Watch out for Nat King Cole singing at a nightclub. Better than expected - enjoyable and recommended.

A period melodrama with touches of noir and Hitchcock sounds mildly intriguing - and that's what this is; still you have to slog through the first 20-30 mins as the wheels get set-up before they start to turn. Ivy is a spendthrift wannabe aristocrat who enjoys the high life - but her devoted husband is down on his luck (and her more devoted lover is more interested in charity work) so she hunts a rich whale by inveigling herself into society and his circle. But her husband and lover won't let her go! What to do? Fontaine is the only reason to watch this movie as she plays the overly dramatic narcissistic blonde who looks like ice-cream wouldn't melt in her mouth but is all about manipulation, and is not above turning on her sexual charm (Fontaine manages to come on strong as hell) in order to get what she wants! This has a few artistic touches and the middle of the movie is strong - just the beginning is dull, and the ending a bit tagged on. A decent watch!

I've been watching Richard Fleischer's movies recently and they all satisfy, his direction tangibly elevating the films, short or long. Here we have an hour-long hunt for a crazed killer, who leaves creepy notes in his wake "explaining" his bizarre random murders. The investigation is led by every-cop Lt. Harry Grant (William Lundigan) who is close to a nervous breakdown about resolving the case. To lighten his spirits, cheeky budding journalist, Ann Gorman (Dorothy Patrick) chases him as she gathers a story for her magazine and soon becomes pivotal to the case. There's a flashback, a montage, a surreal manikin, and a slightly off-beat and striking ending that really satisfies. Of course, being a cheap production, it has its flaws, but there's plenty to like!

Only Lawrence Tierney completists should subject themselves to this dull, inert and unengaging flick about an engineer wrongly accused of murder. A lot of the story takes place in ships or a jungle as he goes on the run, and falls for a dippy dame who protects him. The sappy dialogue hopes to make us believe there is a romantic spark between these two despite there being little chemistry between them and they both act stiff as ironing boards throughout. Then the coincidences pile up to make matters worse. However, I'll give it three points: (1) for some OK action (2) the exotic locations and (3) there is some curious plotting involving a mute youth. But that's about it. Although it has a very short run-time I found myself checking my watch several times before I gave up on it 45 mins through (and watched the rest a few days later). You've been warned!

A detective's new secretary become vital to his next case where a "Madame X" has seemingly committed murder of a radio gossip-columnist. Wise-cracking lines and comedic turns make this a very light-hearted and frivolous affair but all the parts are played with vim and pep, making the time spent with these characters a breeze. Just as in an Agatha Christie novel, many red herrings abound, and the final dénouement is very Poirot-like as all the suspects (inexplicably) gather in a room to be eliminated one by one till the killer is revealed. Almost a parody of a noir, there are plenty of witty lines right from the start and some surprises here and there that hold one's interest during its 55-min runtime.

It seems those dancers-for-hire clubs have some shady dealings in the background with young girls being locked into contracts that allow them to be shipped to any club the owner wants - still, one can't operate without protection from the law and when a new protector comes into the picture, suddenly there's trouble in local boss Miranda's Paradise Club. These girls are also dying like flies and disappearing into thin air to the consternation of the citizenry so the governor decides to get tough has many repercussions for the girls. Rita Hayworth is a new dancer who gets mixed up in the conflict between the club owners, the agents and the law; however, she only has a few scenes here and there, and looks fairly ordinary here as she had yet to have her transformation into all-out film star. As the flick proceeds the pace picks up speed until by the end developments come thick and fast, enough to make your head spin. It's dog-eat-dog among the bosses as the steel ring of the police tightens. Clearly a low budget affair, this film in packs tons of plot as is surprisingly brutal near the end. Short and sweet!

An RKO-produced movie, based on a true story, we follow the trials and tribulations of a post-war amnesic soldier suffering from PTSD who is under suspicion of treason and ratting on his fellow troops at Cabanatuan POW camp run by the Japanese army but escapes the hospital only to find that an old nemesis is trying to end him to preserve a dastardly scheme. There's intrigue, espionage-like work, action, romance and betrayal. The parts are played with vim and vigor and the pace is athletic. The noir here is more the atmosphere of strange forces at work and being hunted for unknown reasons leading to some dread and paranoia. Recommended.

Mike Carter (Lawrence Tierney), rogue detective, is invited to be a bodyguard of a rich dame, for a wad of dough. From there, he investigates a series of attempted and actual murders that seem to be happening around her family, (owners of a meat-packing company) and it turns out there is danger at every corner, with someone even out to get him, but why? Part mystery, part B-noir, the pace hardly lets up from start to finish as Mike is assisted by his colleague from the precinct and game-for-anything girl, Doris (Priscilla Lane) to try to figure out what gives. Lane and Tierney make for a winning pair in what should be more one-dimensional roles as they flit from location to location by various means (some quirky) and get tangled up with some of the meat-heads out to get them. There are also memorable framings, rarely-seen plot devices and tiny character vignettes that bring a spark or two to the proceedings and make it heaps of fun. You won't regret the time spent here (just 62 mins). 6.5/10.

"Call Northside 777" certainly carries an intriguing story ripped from the headlines as a journalist hunts down leads in a dead case where it seems an innocent man has been framed for unknown reasons. Well-filmed, often on location, this is not a noir by any means, but more of a journalist procedural with reporter P. J. McNeal (James Stewart) bouncing between a motley crew of characters and the hard-nosed city editor as his story gains massive traction with the public - plus there is a substantial reward on offer for clearing Frank Wiecek (Richard Conte in a small but crucial role). There is much to like here, but for me it was somewhat marred by a snail's pace tempo and becomes very saggy around the hour mark; the ending is also very over-extended. Injecting some urgency into the proceedings would bring some life to the film - esp. One with such a real-life background. I don't regret my time with it but expected much more. 5/10.

This flick seems to have been created by patching discarded off-cuts from other (better) movies with some very hackneyed dialogue, worn-out stereotypes and overly contrived plotting. Still, there are some small pleasures to be gained here in the energetic and pretty committed performances of the players, and in the break-neck speed and twists of the story. Virginia Mayo's Flaxy Martin is watchable but largely absent from the movie (her appearances bookend the film) while Zachary Scott's Walt Colby is an arrogant but hypocritical lawyer who becomes undone by his own 'cleverness', his lust for Flaxy, and his ill-judged support of the local crime-lord. Side-kick, Elisha Cook Jr. Plays to form as a psycho henchman although his dialogue is exceptionally cliched to the point of parody. To enjoy this film, one must simply ignore the gaping plot-holes and relish the mayhem!

This film centres on the troubled times of Charlie Lupo (Broderick Crawford), a NY mafia don; his men are killing each other without his permission, there's a huge corrupt business deal he's invested in, and his family life is suffering in the form of a rebellious daughter, Kathy (a young Anne Bancroft). To sort things out, he brings in smooth hitman Nick Magellan (Richard Conte) who becomes his right-hand man. Nick is certainly effective and impresses Charlie's girl and his daughter as he tries to stay 'professional' and unentangled. Things get dicey and Nick has to keep his cool as others are losing their heads. I've rewatched this and it's still as good - Conte plays the cold-hearted killer with panache and Crawford is a force of nature as he juggles his criminal life and family affairs. Bancroft is a firecracker of emotions and impulsivity, and her relationship with the father goes into more depth than one would expect from a 'gangster' movie. Thrills, action, violence, intrigue, passion - there's not much lacking from this very worthy noir.

An uncanny plot and claustrophobic little sets make this odd but fast-paced story play out in very unexpected ways. Initially, the science lab setting gives it a sci-fi air - later it feels more like a thriller or a mystery - other times a Brazilian soap opera; but somehow the tonal shifts work in a sort of Freudian whirly-gig fashion and we drift from one to the other seamlessly. I can see why this movie enjoys cult status - it has its camp aspects - but there is also some artistic merit in a couple of memorable shots and in its unsettling eerie atmosphere. Notable for its femme fatale vs femme fatale conflicts, this will certainly make you sit up and watch for 68 mins. Although Hillary Brooke and Ruth Ford played their roles perfectly well, I was especially taken by Brenda Marshall, who sadly did make many more movies. A potent little brew of intrigue, twisted passions, and...strangeness. I heartily recommend for lovers of noir or 'otherwise'.

There is some good tension and action to be had here - and a couple of unexpected turns of event - as we go undercover in the vicious world of people-smugglers who treat their freight like trash - 'helping' them cross the border to US farms (with complicit farm owners) only to be robbed clean on the way back. Our two stalwart cops (Ricardo Montalban and George Murphy) infiltrate different ends of the operation, having to dodge suspicion, collect intel, as well as keep in contact with headquarters - and each other; not easy when you have creepy and brutish thugs running hell-on-wheels through the wilderness and an unscrupulous kingpin (Howard Da Silva) pulling the strings. I enjoyed the novelty of the setting (some desolate locations in the desert) and plotting - and the leads make for convincing officers of the law; the cinematography improves greatly in the latter half of the movie and there are some memorable outdoor shots and scenes. Certainly there is an noirish atmosphere of cynicism, hopelessness and menace, and the high stakes and constant tension make it pretty enjoyable. Not amazing but not bad either.

In a movie that speaks to our times, Broderick Crawford IS Willie Stark - a man of the people seeks power - and learns how to play the game along the way. Almost like a fictional biopic at times, we see Willie move through the years, picking up friends, girlfriends and enemies as he reaches for the highest position in the state. "Do the means justify the ends?" is just one of the questions posed by this almost epic-sized movie; but while people all around suffer from Willie's machinations it is the common man who seems to benefit from his work to better their lives - but on closer examination, who is it that really benefits? Surrounded by tragedy in the family, a broken marriage, several affairs, as well as fawning lackeys who carry out his every whim, Willie Stark strikes me in some ways as a sort of precursor to Tony Soprano - of course in a very different context. It's quite a complex movie with many moving parts, conflicts of loyalty, and very watchable performances from the other supporting actors. Not a noir by any means, in my view, apart from a sort of cynicism and fatalism that hangs over the movie like a pall of smog.

Another wonderful Broderick Crawford performance brings gravitas to a sensational plot where what people know, even how they look at you, knowingly, becomes pivotal to the twists of the story. John Derek and a stylish Donna Reed in the role of investigative reporters keep the pressure on the story, as the tension ratchets ever higher. Even in minor roles, old character actors (like Henry O'Neill) bring life to the whole cast with better-than-expected acting. There is some nice ironic banter between the leads and Broderick Crawford grabs the limelight in his every scene, chewing the scenery, in a good way. A fast-paced but doom-laden plot and that sense of the walls closing in make it a noir in spirit, if not in body. Recommended!

An unusual little flick centred on a cop creating a criminal persona for himself while inching closer to the top of the criminal organisation. Broderick Crawford is the centre of gravity of the piece and has a surprising number of snappy little one-liners that amuse throughout the proceedings as he climbs up the ladder, deep undercover. However, the danger quotient rises inexorably as some of the thugs begin to suspect his identity, and he soon has to protect himself and the one he loves from the encroaching murderous impulses of the gang. The tension and high stakes are leavened by banter among numerous characters and give it an added dimension of enjoyment. I just wished by the end that it had gone on a little longer.

This is a rough-and-ready flick with a bit of an underground reputation - that starts as if it is about to end, but continues through a flashback in which the femme fatale relates her story - but then has what are almost a couple of quasi-fake endings. Lots of dead bodies, twists and turns, and an unflappable ruthless femme fatale lead you on a whirlwind of action, with greed driving the pace. Reminded me of D. O. A. (both have an iota of sci-fi) and (as others have said) Gun Crazy, for the intensity and unstoppable intent of the femme fatale. Yes, it's cheap, flimsy and overacted here and there - to the extent of almost verging on parody or black comedy at certain points - but this film is like a shot of adrenaline whose leading lady will stick in your memory, I'd vouch.

Two twists change this movie from what you expect to something else completely. In fact, the title doesn't even seem to match the plot, until those twists transpire. Then it hits its stride with a sense of lingering dread hanging over the proceedings, even when the antagonist is not on screen; actually it seems their absence simply serves to ramp up the tension - such is the skill with which this is directed and shot. Rhonda Fleming gives her usual slightly overwrought performance but it works for this movie as she senses the dangers others around her don't . Surprisingly, many scenes are written in far more depth and are acted with way more seriousness and earnestness (by Joseph Cotten and Wendell Corey) than they have any right to be in just a B-movie - but it works to add depth and empathy. Even the "killer" is not two-dimensional but seems plagued by doubts and confusion - all the while being quietly menacing, disturbing, and on the edge of an outburst of violence at any moment. There are touches of pathos, taut high-wire tension, intrigue and action - with at least one very memorable scene that still flashes in my mind - that make this a very worthy watch. Fans of Hitchcock will also enjoy the hints of perversion and cynicism - and some other key elements which that particular auteur would find appealing. A minor gem.

I arrived on this while on a mission to track down another Sterling Hayden film after Naked Alibi (1954), and while that was a decent pot-boiler along with a sizzling Gloria Grahame and a whole lot of seediness - Crime Wave is on a whole 'nother level. A simple plot but humanly complex, a straight procedural in some ways, but also shot with a commitment to gritty realism that is alien to much noir (with notable exceptions), and reminded me a lot of Gun Crazy (1950). The villains, the hero, the detective are played for reals and the stakes just keep getting higher as the film proceeds, sweetened by the presence of Phyllis Kirk. The atmosphere moves from tense to taut to dynamite in swift measure, and the script is just as whiplash-paced, curt and down-to-business, adding to the tightness of this whole fever dream experience. Incredible casting, directing and cinematography that turns a B- movie into a B++ absolute gem. Watch it now! :)

This is a gripping and sometimes truly shocking drama which depicts how a young wife (Eleanor Parker), caught up in the crimes of her husband, is convicted as an accidental accessory - and being 19, naive and fearful, has a rough go of it as she attempts to navigate the power struggles among the inmates and the prison staff - without losing her hope for a brighter future. Based on months of research by writer Virginia Kellogg, this is a surprisingly realistic window into a women's prison, and does not pull many punches on the conditions, and types of corruption, pitfalls and mayhem that a young girl could experience in such an institution. Given this, the film feels modern and is so immersive that you start to feel you too are locked within these 4 stark walls by about halfway through. Here and there it drifted into melodrama (which I don't mind) but if you can forgive the film this, you are in for a real treat. Eleanor Parker gives an Oscar-nominated performance (that should've garnered her a trophy) as her wide-eyed character zig zags to survive through this harrowing ordeal. Among her prison cellmates, there are plenty of co-stars here who also come across as if they were real-life characters, despite some having only very minor parts - such is the acting on display here. Plenty of stuff happens, some of it wild, which could fill a whole season of a streaming show but here is packed into 96 mins very deftly and with devastating effect. The politics of the jail beyond its walls, and within, are masterfully intertwined with clarity, sophistication and nuance. Tagged as a film noir, there are a few noirish shots (and some incredibly framed shots) throughout but, besides that, there is an atmosphere of despair and cynicism, of helplessness and hopelessness, as well as the stifling oppression of being the victim of forces beyond one's control, courtesy of some especially sadistic prison staff. Best of all, as the movie ended, I thought to myself: " Well, I was definitely not expecting THAT!" and I think you will too.

Caesar Romero is the star here as the sharpest tool and head-honcho in his little criminal outfit that carries out a kidnapping. Dramatically, this seemingly successful trio of lowlifes gets entangled with a family of innocents who stumble upon their hideout. As time goes on, the kidnappers' ransom money becomes an albatross around their necks and conflicts within the gang break out, creating a chaotic, claustrophobic, nerve-wracking atmosphere for their captives. Though we know the bad guys will get some kind of comeuppance, there are enough twists and surprises to make it engaging to the end. Stick with it for a nice little dénouement. Better than expected!