Spidersecu Don't Believe the Hype

ShangLuda Admirable film.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

JohnHowardReid Joyce MacKenzie (Laura Mansfield), Stanley Clements (Jackie Wales), Hurd Hatfield (Stretch Norton), Albert Dekker (Armitage), Myrna Dell (Alice Wentworth), James Flavin (Lieutenant Brewster), John Dehner (Niles), Richard Amory (Mulcahy), Norma Vance (patron in powder room), Suzette Harbin (powder room attendant), Buddy Swan (Arthur, a messenger boy), Ben Wenland (Dave, a messenger boy), Franklyn Farnum (Mansfield), Steve Gibson (himself, leader of Redcap Singing Group), Ralph Brooks, Jeffrey Sayre, Harold Miller, Suzanne Ridgeway (nightclub patrons), Steven Ritch (waiter), Fred Graham (fight double for Hurd Hatfield). Steve Gibson's Redcaps (themselves).Director: EDWARD L. CAHN. Screenplay: Don Martin. Photography: Jackson Rose. Film editor: Philip Cahn. Art director: Boris Leven. Set decorator: Jacque Mapes. Wardrobe supervisors: Maria P. Donovan (women) and Jerry Bos (men). Make-up: Henry Vilardo. Hair styles: Lillian Shore. Music: Irving Gertz. Song (Gibson) by Steve Gibson and James Springs. Sound recording engineer: Garry A. Harris. Producers: Maurie M. Suess, Edward L. Cahn. Prominent Pictures (i.e. Edward L. Cahn Productions).Copyright 15 June 1950 by RKO Radio Pictures, Inc. U.S. release through RKO: 8 June 1950. No recorded New York opening. U.K. release: 13 May 1951. Australian release: 9 February 1951. 6,721 feet. 74 minutes.SYNOPSIS: After witnessing the murder of her father by a messenger boy, Laura Mansfield decides to track down the killer.COMMENT: Don Martin has certainly come up with more than a few novel twists in the plot of this minor film noirish "B". Mind you, it stretches belief and some of the dialogue is pretty silly (especially that given to James Flavin who makes a most unconvincing detective), but it certainly has its moments, thanks chiefly to Hurd Hatfield and Albert Dekker. One of the surprises is that the chief character is killed (off- camera, of course) when the movie still has twenty minutes to run. Fortunately, we didn't take to the player concerned anyway and his unexpected demise gives an opportunity for our favorite actor to take charge. This plot twist seems a little ridiculous but we're prepared to let it pass. After all, as said above, the film is worth seeing mostly for Hatfield and Dekker. As for the actual star (as per the billing), it must be admitted that, although saddled with an unlikely self-assignment, Miss MacKenzie does her best to instill a smidgin of realism into her performance. She receives solid support from femme fatale Myrna Dell and (in a small role) glib gangster John Dehner. The direction by Edward L. Cahn rates a notch or two above his usual super-humble standard. Production values score a generally adequate to low, but occasionally impress.

tedg The story is good because it is plotted well. It starts with a Ted-friendly fold: a guy is in a movie with his girl. He takes a break and kills someone and returns as if the murder was a movie. Well, it is.What follows is a collection of tough guys and dolls navigating through different interlocked schemes to cheap each other in some way. A few die. The good plotting comes from the intricate interlacing of the perfidy. The hero here is a mobster's "good" daughter who goes under cover to find the killer of her dad. The formula would have her won and lose both. She doesTed's Evaluation -- 2 of 3: Has some interesting elements.

whpratt1 This film held my interest from beginning to the very end with one outstanding actor, Hurd Hatfield (Stretch Norton) who gave an outstanding performance and kept this film moving along in his night club owned by mobsters. Laura Mansfield, (Joyce Mackenzie) played the role as a young girl coming home from college and witnesses her father being killed by a delivery man at their front door. Laura decides to do her own detective work, because the police do not seem to be working fast enough in their investigation and Laura does determine who the killer is but has to find ways of getting more evidence. Albert Dekker, (Armitage) gives a great supporting role and Joyce Mackenzie lightens up the film which her charming female looks. Although, this film is a low budget film, it has many twists and turns and will entertain you.

krorie This nifty little programmer from the post-World War II era gives viewers a chance to see several second-lead actors strut their stuff. The weasel-eyed Stanley Clements who made a living playing gunsels and Bowery types gets a chance to play, yes, a playboy hit man. It's a good thing he had money and a sporty-looking car to supplement his looks. Albert Dekker as Armitage does fine in a difficult role, having to play two facets of the same character. Alice Wentworth (Myrna Dell) turns out to be a femme fatale failure in the movie, but not in the acting department--seems the blonde bombshell is just not smart enough to pull off her double dealings. The lead part of Laura Mansfield is portrayed by Joyce Mackenzie, sort of a poor woman's Barbara Hale. Then there's Hurd Hatfield as the sneaky Stretch Norton, a pivotal part that fits his talents perfectly.The story involves a murder man's daughter tracking down the person responsible for her father's death, since she is led to believe that the police aren't really doing their job. She begins dating the trigger man, hoping he will lead her to the mastermind. The trail leads to a nightclub operated by mobsters. The nefarious Armitage has a nasty habit of torturing and killing his victims to the tune of Beethoven's "Moonlight Sonata." He is also adept at using his belt to silence those who disagree with his methods or who attempt to extort money from him. The plot has a major twist toward the middle of the film. It's surprising that other writers and directors haven't expropriated it (politically correct for stealing). As with most noir-like films of the period, music serves a vital link between story and character development. "Moonlight Sonata" has already been noted. Listen to the words of the songs sung by the popular jump and jive group Steve Gibson and the Redcaps (early doo wop). At times the musical selection can even be ironic. For example, just before Armitage gives Jackie Wales (Clements) the treatment, the Redcaps blast away with, "Let's Go To A Party."