George Raft was a cop. Now he's a bail bondsman, in partnership with Pat O'Brien. A series of disappearing clients has him worried, as does Ella Raines, an old girl friend who reappears in his life.
It's a noirish sort of movie without many of the trappings; the most dramatic bit of lighting occurs in a shot of the firm's secretary taking a call, with the light shining through, the company's logo etched in reverse on the wall above and behind her. Ted Tetzlaff's direction is workmanlike, and as often seems the case, Raft's delivery is fast and guarded, giving the impression, as so many of his later movies do, that he's there for a paycheck, and anxious to get through the shoot as fast as he can. Jim Backus steals the movie as a police detective who seems to have a relationship with Raft.
It's a noirish sort of movie without many of the trappings; the most dramatic bit of lighting occurs in a shot of the firm's secretary taking a call, with the light shining through, the company's logo etched in reverse on the wall above and behind her. Ted Tetzlaff's direction is workmanlike, and as often seems the case, Raft's delivery is fast and guarded, giving the impression, as so many of his later movies do, that he's there for a paycheck, and anxious to get through the shoot as fast as he can. Jim Backus steals the movie as a police detective who seems to have a relationship with Raft.