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Despite the slightly hysterical anti-Communist tone, this is a well-made and very well-acted thriller with excellent performances from most of the cast, especially Janis Carter and super-villains Thomas Gomez and William Tallman. John Agar and Larraine Day are also excellent in leading roles; the surprise weak link is Robert Ryan, who fails to bring his usual intensity to his part as a blackmailed ex-Red who can't leave the party. The cinematography is dark and moody, with good use of San Francisco backdrops. The script is not bad either, with a certain amount of very bleak humor which does little to soften the harsh view of most of the characters. Put politics aside and enjoy this noir-ish and entertaining movie!

I have just watched my second Robert Ryan movie of the week, and it was another goodie. The movie in question was 1950's "I Married a Communist," which was later given the more meaningless title "The Woman on Pier 13." In the film, Ryan stars as a successful San Francisco shipping executive who has just been married to Laraine Day. As a youth, he had briefly belonged to the Communist Party, and now, the thugs and goons from the party have returned to blackmail him and coerce him to do their bidding. They send a very attractive blonde member to corrupt his brother-in-law (John Agar, in one of his earliest roles), and things get very nasty before the film's taut 73 minutes are done. Thomas Gomez and William Talman add effortless slimy support as the Commie cell leader and hit-man, respectively, and director Robert Stevenson keeps things moving crisply. (Hard to believe that Stevenson later went on to direct such kiddie fare as "The Absent-Minded Professor," "Son of Flubber," "Mary Poppins," "That Darn Cat" and "The Love Bug," given the nature of this film!) The picture is beautifully, noirishly shot and features some surprisingly effective bursts of violence. My stomach was in knots with this one, I must tell you; it is a very effective exercise in suspense. Yes, the Commies ARE represented as ridiculously slimy hoods, but one must remember the time period in which this thing was created, by ardent Commie hater Howard Hughes. In all, a pretty underrated entertainment, and much recommended!

A film for Robert Ryan fans, for this shows how handsome he was. Fit and virile, and before smoking began to take its toll. He was 40 yrs old by the time he made this film. He got the chance to be something of a hero for a change. He does some pretty good acting, for him, and romantics everywhere will love the way he desperately tries to save his wife in dramatic scenes. This movie pushes home the paranoia of anti-communist views as it was in the 50's. People scoff at the fear of communism in todays climate, but things were different then. People have forgotten how men died because of communist spies. British soldiers and some Americans and Polish too, died at the hands of communist spies such as Guy Burgess, Kim Philby and Anthony Blunt. They mainly operated from Whitehall, London, and spilled secrets to Russian Communists in the 40's during the war. They leaked details of planned operations that got back to the Russians. When they started being discovered by the British and American Intelligence they fled to live in Russia and they died in the 70's. However, this film expresses a fear and nothing more than that of dark forces at work among men. Essentially a "B" movie but certainly adequate and worth a look for Robert Ryan alone, and probably as a history lesson for movie makers.

The Woman on Pier 13 (AKA: I Married a Communist) is directed by Robert Stevenson and collectively written by Charles Grayson, Robert Hardy Andrews, George W. George and George F. Slavin. It stars Robert Ryan, Laraine Day, John Agar, Thomas Gomez, Janis Carter, Richard Rober and William Talman. Music is by Leigh Harline and cinematography by Nicholas Musuraca.

Brad Collins (Ryan) was a one time member of the communist party. Now married and thriving in business, his world is turned upside down when the CPUSA come to seek him out for influential favours.

It wasn't easy for director Stevenson, what with RKO mogul Howard Hughes interfering as he forced home his anti-communist slant, so much so the whole pic comes off as an almost there type of piece. Casting aside that it's all a bit daft these days, with its red hysteria leanings (though it serves as a most interesting social document of the era), there's a number of tight scenes and enough moody atmospherics to keep this out of basement hell.

Characterisations are rich in noir traditions, a protag whose past is back to bite him, a slinky femme fatale, a dutiful wife in the dark, and villains of substance. Be it Gomez's weasel Commie boss stomping around like a malevolent tyrant or Talman's fairground working hit- man for hire, the latter with a dress code as mirthful as it is strangely unnerving, the baddies offer up some sort of balance in a screenplay that's not sure where it ideally stands. The violence hits hard, with shocking deaths, and in good dark noir style the finale holds court for the right reasons.

Add in a cast who don't let anyone down and the great Musuraca showing his photographic skills (though not as much as we would like), then it's a more than decent viewing experience. But the proviso is that you do have to let the propaganda go above your head to get to those decent rewards. 6/10

Robert Ryan and Laraine Day star in "The Woman on Pier 13," along with Thomas Gomez, John Agar, Janis Carter, and William Talman. Ryan plays Brad Collins, who falls for lovely Nan practically the moment he meets her. They marry quickly, without knowing much about one another.

One of the things Nan doesn't know is that Brad used to be Frank Johnson, a member of the Communist party. His ex-girlfriend (Carter) is still one, and she is working to recruit Nan's brother (Agar). Meanwhile, Brad is blackmailed into stalling union negotiations on the waterfront.

This is an okay film, with Robert Ryan looking great and doing his usual fine acting job. It's interesting that while he looked taller than the other actors, he really didn't tower over them. He was 6'4" and actually had special furniture in his home to accommodate it. Here he is robust and not playing a meanie as he usually did. MGM never knew what to do with Day, so she was lent out constantly. I think she was underrated.

This film really draws you in. The acting is very good, and the cinematography is great.

Communism, of course, was a hot subject back in the late '40s and '50s. On paper, it sounds like it might work, which is what drew so many young people to it during the Depression years.

During the blacklisting years, the fear of Communism got out of control, and people who had attended one meeting in 1935 found themselves blacklisted. Lee Grant went to the funeral of someone who was thought to be a Communist, and she didn't work for 19 years.

Consequently there are many anti-Communist films. This is one, with a solid cast and some good production values.