Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Melanie Bouvet The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Keeley Coleman The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Ezmae Chang This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

alexdeleonfilm FRAMED", Columbia, 1947, 82 min. This the one in which a slightly scruffy Glen Ford (just after "'Gilda", which made him a highly bankable Star) plays a mining engineer down on his luck, drifts into town, gets busted for a brakeless truck driving accident for which he gets thirty days in the local hoosegow, but is bailed out by a mysterious blonde (Janis Carter) for no apparent reason other than that she seems to have eyes for him. If he knew what she really had in mind for him he would have taken the ten days, gladly! As the plot thickens the incredibly alluring Carter really racks poor lovesick Glen over the coals setting him up for an insurance scam where he will be "accidentally killed" in a car crash so she and her real boyfriend (Barry Sullivan) can collect on the policy and scram. Glen barely survives and Janis gets her just deserts but her performance is so subtly-shaded with both hidden menace and obvious allure, and she is just so all-around fantastic in "Framed", that I couldn't help thinking that, all kidding aside, this must have been the Best Performance by an Actress for all of 1947 - - the year that Loretta Young actually got it for "The Farmer's Daughter".

Spikeopath Framed (AKA: Paula) is directed by Richard Wallace and adapted to screenplay by Ben Maddow from a story written by Jack Patrick. It stars Glenn Ford, Janis Carter, Barry Sullivan and Edgar Buchanan. Music is by Marlin Skiles and cinematography by Burnett Guffey.Mike Lambert (Ford), down on his luck and fed up of getting nowhere in life, meets sultry waitress Paula Craig (Carter) and things will either get better or worse?There's a road sign in this that grabs the attention, it reads DANGEROUS CURVES! Now that initially is in reference to a perilous road - with roads featuring prominently as dangerous parts of the play - but it quite easily could be, and in all probability is, a sneaky reference to Janis Carter's femme fatale. Paula Craig in Carter's hands dominates the film, not that Ford or Sullivan are pointless fodder, but it is both the actress and her character's show.After a burst of pacey excitement opens the pic, action moves on to a cafe, from where we are introduced to Guffey's talents, from this point on almost everything is atmospherically shot. Slats and shads, lamps and cell bars, all get the Guffey lens treatment that's sitting superbly with the unfolding psychological dynamics. Very early on we are delivered two characters who basically are a cheater and a viper, while the main man of our story is a guy who struggling with his identity in life. He also likes a drink, but with that comes memory loss, which is never a good thing when you are holed up in a noirville town.Stripping it back for examination you find the story is very simple, which is surprising and a little disappointing given the screenplay writer also did The Asphalt Jungle. Yet the characters and the actors performances, helped by some classy tech work, more than compensates - that is until the finale, which for some (me for sure) is a bad choice for character tone. But it's not a film killer, for we get everything from orgasmic glee shown in the process of a callous crime being committed, to characters either in need of a soul or facing their days of judgement. 7/10

LeonLouisRicci This one will never be on anyone's Great Film Noir list, but it will be on the list of Film Noirs. Keeping it from enduring greatness is the rather wooden stare and less than dramatic line readings of the Femme Fatale. The other is the standard Studio Friendly ending.Remember Double Indemnity (1944)...Postman Always Rings Twice (1946)...Out of the Past (1947)...Kiss Me Deadly (1955). Those are quintessential Noir. If you are the Patsy or victim of Fate, you either end up dead or on your way to the Big House. Otherwise, it is just light Film-Noir. So here we have it, a watchable, if unremarkable entry in the Genre. Glenn Ford makes a great brooding, conflicted, fuzzy-headed everyman and is as likable as they come. Always generating much empathy.After all, this is pretty standard Film-Noir, but even routine Noir is better than most of the Drama that was Hollywood Product made from 1940-1960.

moonspinner55 Glenn Ford, young and brittle, plays an unemployed, hard-drinking mining engineer saved from ten days in the hoosegow by a blonde waitress with evil in her eyes; turns out she and her partner need a fall guy once they swindle the local banker. Crosses and double-crosses in a mostly predictable vein, though just about saved by excellent directorial touches and intriguing noir detail (the wrench in the backseat, the poisoned cup of coffee). Ford isn't really convincing playing drunk and reckless--and it doesn't sit well with us having him cast as the possible dupe--yet he cuts a solid presence on the screen and the picture would be nothing without him. ** from ****