Copyright 16 November 1949 by Loew's Inc. A Metro-Goldwyn-Mayer Picture. New York opening at the Rialto: 11 January 1950. U.S. release: 25 November 1949. U.K. release: 15 May 1950. Australian release: 6 July 1950. 95 minutes. Cut to 91 minutes in Australia.
SYNOPSIS: Meek pharmacist determines to murder his wife's lover. He adopts a complex plan which backfires when...
COMMENT: Although the plot is full of holes, none are apparent while the action is actually unwinding, thanks to the charismatic skills of the principals (even the normally no-personality Cyd Charisse seems very appealing here) and the sensitive direction of John Berry. Atmospheric photography and realistic sets also help. Audrey Totter has one of her best roles, but fans of Barry Sullivan are in for a mighty disappointment. Although he narrates the movie, he doesn't come on stage until halfway through, and even then he's often shaded by William Conrad's attention-grabbing impersonation of his slobby offsider.
OTHER VIEWS: Metro-Goldwyn-Mayer made only a few dozen or so forays into the non-escapist world of film noir. Fortunately, this grippingly atmospheric yet once-neglected little gem has found a secure niche in the repertoire of Turner Classic Movies. The cast is exceptionally engrossing, though it could be argued that Barry Sullivan delivers a somewhat too arch performance as a smug, string-pulling and none-too-likable detective.
On the other hand, secure portrayals by Richard Basehart and Audrey Totter brilliantly prop up a somewhat insecure script. If Quimby "looked so nice in his uniform", how come he allows himself to be beaten up by an obviously-out-of-condition Deager? And surely Mary would have made inquiries from Sothern's "employer" before reporting him to Missing Persons. And even though the action takes place in a large city (presumably Los Angeles), surely Quimby's plan is full of risk. After all, he's right there on display at the prescription counter day and night. He doesn't even take the trouble to dye his hair. And most important of all, surely a smart, street-wise cookie like Claire Quimby could see right through Bonnabel's extremely transparent stratagem. She's not in love with the guy anyhow and yet she suddenly acts like a dope purely in order to bring the movie to an isn't-romance-wonderful fade-out. And what's her motive anyway?
In an early dramatic role, Cyd Charisse comes across as exceptionally appealing. The way she handles the confrontation scene is so convincing, she manages to paper over the script's gaping holes. Also helping out in this regard, slot in Berry's tautly moody, stark, no-frills direction. The movie's unusually realistic sets (by M-G-M gloss-is-everything standards) are pinpointed to perfection by ace cameraman Harry Stradling.
SYNOPSIS: Meek pharmacist determines to murder his wife's lover. He adopts a complex plan which backfires when...
COMMENT: Although the plot is full of holes, none are apparent while the action is actually unwinding, thanks to the charismatic skills of the principals (even the normally no-personality Cyd Charisse seems very appealing here) and the sensitive direction of John Berry. Atmospheric photography and realistic sets also help. Audrey Totter has one of her best roles, but fans of Barry Sullivan are in for a mighty disappointment. Although he narrates the movie, he doesn't come on stage until halfway through, and even then he's often shaded by William Conrad's attention-grabbing impersonation of his slobby offsider.
OTHER VIEWS: Metro-Goldwyn-Mayer made only a few dozen or so forays into the non-escapist world of film noir. Fortunately, this grippingly atmospheric yet once-neglected little gem has found a secure niche in the repertoire of Turner Classic Movies. The cast is exceptionally engrossing, though it could be argued that Barry Sullivan delivers a somewhat too arch performance as a smug, string-pulling and none-too-likable detective.
On the other hand, secure portrayals by Richard Basehart and Audrey Totter brilliantly prop up a somewhat insecure script. If Quimby "looked so nice in his uniform", how come he allows himself to be beaten up by an obviously-out-of-condition Deager? And surely Mary would have made inquiries from Sothern's "employer" before reporting him to Missing Persons. And even though the action takes place in a large city (presumably Los Angeles), surely Quimby's plan is full of risk. After all, he's right there on display at the prescription counter day and night. He doesn't even take the trouble to dye his hair. And most important of all, surely a smart, street-wise cookie like Claire Quimby could see right through Bonnabel's extremely transparent stratagem. She's not in love with the guy anyhow and yet she suddenly acts like a dope purely in order to bring the movie to an isn't-romance-wonderful fade-out. And what's her motive anyway?
In an early dramatic role, Cyd Charisse comes across as exceptionally appealing. The way she handles the confrontation scene is so convincing, she manages to paper over the script's gaping holes. Also helping out in this regard, slot in Berry's tautly moody, stark, no-frills direction. The movie's unusually realistic sets (by M-G-M gloss-is-everything standards) are pinpointed to perfection by ace cameraman Harry Stradling.