A personal favorite in the film noir genre, I've seen it many times (especially now that I own a copy on DVD) and have yet to tire of it. Mark Stevens strikes the perfect tone as the man behind the eight ball, a near-requirement for noir. Curiously, there is no femme fatale to play opposite him. Lucille Ball serves as his spunky, loyal, and creative secretary while Cathy Downs, as Mari Cathcart, might be considered a femme fatale but to whom? Her less-than-forthcoming lover (acted as suave but slimy by Kurt Krueger) or her obsessively murderous husband (oh, Clifton Webb, another erudite role for him: "I detest the dawn
it's as if they rolled up the grass at night" or something to that effect)? We can understand Webb/Cathcart's obsession since Ms. Downs, only 22 at the time, was quite stunning. There is a stylish, sensual long shot of her in her dressing gown that reveals her curves. Webb, naturally, is looking at her, a near voyeur. But then we do the same total voyeurs.
The film is suitably dark in a number of ways. Much action takes place at night, whether it be at a carnival (a carefree time spoiled by the menace of a tail on Stevens/Ball, oddly enough in a white suit) or on the gritty streets of Chicago (some actual El shots were used). The photography has a nice, grimy look to it. It's not the crystal clear B&W you can find in other films. And Stevens' detective is, for almost the entire picture, in the dark, not knowing who or why someone is setting him up to take the fall for what? That, too, takes a while to discover.
I like that the film incorporates the world of art (galleries) so thoroughly. The contrast between Stevens' world and the money & jewels dripping off the art-conscious socialites is quite compelling. (I wonder if Dario Argento was aware of DC's use of the art world since he deploys it in several of his own thrillers, notably "Bird With a Crystal Plumage" and "Profundo Roso.") Stevens tried to bridge the gap by stepping out with Ball to a night club. But they can't even get through one dance Hathaway keeps the pace restless, tense, and unnerving.
You owe it to yourself to catch this flick. It holds up as noir in specific and as fine film making in general after sixty years!
The film is suitably dark in a number of ways. Much action takes place at night, whether it be at a carnival (a carefree time spoiled by the menace of a tail on Stevens/Ball, oddly enough in a white suit) or on the gritty streets of Chicago (some actual El shots were used). The photography has a nice, grimy look to it. It's not the crystal clear B&W you can find in other films. And Stevens' detective is, for almost the entire picture, in the dark, not knowing who or why someone is setting him up to take the fall for what? That, too, takes a while to discover.
I like that the film incorporates the world of art (galleries) so thoroughly. The contrast between Stevens' world and the money & jewels dripping off the art-conscious socialites is quite compelling. (I wonder if Dario Argento was aware of DC's use of the art world since he deploys it in several of his own thrillers, notably "Bird With a Crystal Plumage" and "Profundo Roso.") Stevens tried to bridge the gap by stepping out with Ball to a night club. But they can't even get through one dance Hathaway keeps the pace restless, tense, and unnerving.
You owe it to yourself to catch this flick. It holds up as noir in specific and as fine film making in general after sixty years!