33 reviews
well acted '40s B
Zachary Scott does what he does best, i.e., plays a worm, in "Danger Signal," a 1945 B movie also starring Faye Emerson, Mona Freeman, and Rosemary DeCamp. Scott plays a writer who kills women after he gets their money. On the lam from his last murder, he rents a room in the home owned by the Fenchurch family, Hilda (Emerson) and her mother (Mary Servoss). Scott throws himself at Emerson, and she's dazzled. Mid-romance, her younger sister Anne (Freeman) comes home from a medical treatment. When she mentions that she was Uncle Wade's favorite and he left her $25,000 (big bucks by 1945 standards), Scott loses interest in poor Hilda and makes a play for Anne. Anne looks like Rebecca of Sunnybrook Farm until she starts sneaking around with Scott - overnight, she ages 10 years and becomes downright nasty to her sister. Finally getting the message that her tenant is no good, Hilda calls in a psychiatrist (Rosemary DeCamp) to psyche him out and advise her.
Psychological dramas were all the rage during and after World War II, and Scott does an excellent job as a smooth sociopath. This was his forte - as a weak-willed sheriff in "Flamingo Road," he exhibited no real presence. As for two-timing, we saw him do that in "Mildred Pierce," where he proved himself particularly good at it. Emerson is a bookish stenographer with her hair pushed off her face and her big glasses, but after hours, she's lovely, and gives a strong performance. DeCamp was always an underrated actress - here, she sports a soft German accent and is delightful.
This is a highly entertaining film though a very routine story. The acting truly elevates it.
Psychological dramas were all the rage during and after World War II, and Scott does an excellent job as a smooth sociopath. This was his forte - as a weak-willed sheriff in "Flamingo Road," he exhibited no real presence. As for two-timing, we saw him do that in "Mildred Pierce," where he proved himself particularly good at it. Emerson is a bookish stenographer with her hair pushed off her face and her big glasses, but after hours, she's lovely, and gives a strong performance. DeCamp was always an underrated actress - here, she sports a soft German accent and is delightful.
This is a highly entertaining film though a very routine story. The acting truly elevates it.
A Little Gem of a Movie
- keylight-4
- May 5, 2007
- Permalink
Danger cuts both ways...
Zachary Scott plays a womanizing writer who, as the film is opening, is removing a wedding ring from the finger of a woman who is lying in a bed in a hotel room. That she doesn't wake up tells you something. The story is fairly involved with minimal intrusion by law enforcement. It plays itself out between Scott and the woman he thinks will be his next push-over, an LA stenographer played by Faye Emmerson. While the audience is expecting the worst from Scott, it's Emmerson whose character eventually goes beyond what one would expect of it. Scott's traipsing around LA and looking for a room to rent is fairly riveting and when he sees Emmerson trying to take down the "Room For Rent" sign from her nice middle class two story wood house, the story is set. Suave ruthless womanizer meets lonely stenographer who lives with her mother and easily (maybe too easily) wins them both over. And later comes the arrival of the younger and prettier sister (Mona Freeman), which pretty much sets the stage and opens a lot of possibilities. Scott himself is at his ruthless best.
- RanchoTuVu
- Aug 4, 2010
- Permalink
Neat, Noir-ish drama
Not the best of the genre, but a well-acted B-flick by a cast of great character actors.
The storyline is typical. -- It's the performances that make this fun to watch. Zachary Scott is type-cast as the slimy, shady, kill-for-profit "lady's man" type, played almost exactly as in the A-Films: "Mask of Demetrios" and "Mildred Pierce".
Faye Emerson, who often played bad girls in her lead-roles in B-Films, plays the good-girl here. - One who's first fooled by, then catches on-to, Scott's bad-boy character. She's lovely in a hard way, and handles her part like the pro that she was.
I enjoyed the supporting role played by Rosemary DeCamp, as a doctor with a slight European accent. After seeing this film, I've since read that doing foreign accents was a specialty of hers. Bruce Bennett (also playing a doctor) does nicely, as well.
The film's ending is expected, and slightly disappointing, but the talented cast, the film's tight script, and it's noirish atmosphere more than make up for that.
It's short, moves quick, and it's an enjoyable watch. I rated it 6.
The storyline is typical. -- It's the performances that make this fun to watch. Zachary Scott is type-cast as the slimy, shady, kill-for-profit "lady's man" type, played almost exactly as in the A-Films: "Mask of Demetrios" and "Mildred Pierce".
Faye Emerson, who often played bad girls in her lead-roles in B-Films, plays the good-girl here. - One who's first fooled by, then catches on-to, Scott's bad-boy character. She's lovely in a hard way, and handles her part like the pro that she was.
I enjoyed the supporting role played by Rosemary DeCamp, as a doctor with a slight European accent. After seeing this film, I've since read that doing foreign accents was a specialty of hers. Bruce Bennett (also playing a doctor) does nicely, as well.
The film's ending is expected, and slightly disappointing, but the talented cast, the film's tight script, and it's noirish atmosphere more than make up for that.
It's short, moves quick, and it's an enjoyable watch. I rated it 6.
- cinema_universe
- Jun 29, 2002
- Permalink
A Man in the House
Between the ages of 30 and 51, when he died of a brain tumour, Zachary Scott made 70 films. He was introduced in 1944 in Jean Negulesco's 'The Mask of Dimitrios', where he played Dimitrios. The next year, 1945, he made three films, of which this is one. He is best remembered by cineastes as the star of Jean Renoir's 'The Southerner', one of the 1945 films, where he had a sympathetic role. However, he often played creepy characters, and in this film he is a sociopathic killer of women for money. So what happens here? He lives in a house with three women, so watch out! Faye Emerson, who also appeared in 'Dimitrios', plays the older of two daughters in the house. She falls in love with Scott and they become secretly engaged. Then her 'cute kid' younger sister (played effectively by Mona Freeman, who resembles Bonita Granville both in looks and in behaviour) returns from boarding school and reveals casually in conversation with Scott that she has inherited a tidy sum, so Scott turns his sights on her instead, with all the torrid jealousies seething in the household which that was bound to arouse. Things get tense, and then they get tenser. Meanwhile, plans for murder are going forward in the mind of the calculating Scott. But it turns out that he is not the only one with such intentions. He is also being searched for as a result of his last kill, with which the film has opened, so that we know his back story. James Wong Howe gives effective noirish cinematography to this tale, which was directed by Frenchman Robert Florey who had moved to Hollywood some time earlier. The film is an effective psychopath-in-the-house mystery which can cause a bit of wear of the edges of some seats, for those of such an inclination.
- robert-temple-1
- Nov 5, 2008
- Permalink
Not bad,except for the ending
I won't summarize the plot,as several others have done this already. Just two things: Yes,the ending seemed tacked on,like the writer couldn't think of a way to end the picture and just threw this together at the last minute. The other thing is that several posters are under the impression that Zachary Scott did Mildred Pierce first. No,this film came first,two years before Mildred Pierce,in fact. The Monty Berrigon character Scott played in that film is almost a carbon copy of the guy in this film,not the other way around. In fact,I wonder why Scott would agree to play the MP character since it was so close to this one. Maybe he wanted to work with Joan Crawford or maybe ,under the terms of his contract, he had to play anything they told him to. At any rate,he played these sleazy scoundrels well
Pretty darn good, until
A good suspense tale with the talented Zachary Scott as a charmingly oily character. Faye Emerson is quite good, too. A shame she didn't get more great movie roles. Rosemary DeCamp does a splendid accent. I had to check her bio to confirm she wasn't really foreign. My only complaint is the lame ending. It didn't address the dramatic climax, robbing the characters of their understandable need to process it. For a script which expends some energy on psychological analysis, I found this disappointing.
- susand1108
- Jan 12, 2020
- Permalink
Psychopath lodger
Killer Zachary Scott (Ronnie) romances women, kills them and takes their money. So watch out Faye Emerson (Hilda) and sister Mona Freeman (Anne) because he's just moved in to the spare room of your house. And you are both in his sights.
Scott is excellent as the psychopath who has no empathy or feelings towards his victims. He is charming and totally evil. All the cast do well but Mona Freeman's personality changes are a bit unbelievable and the shy, indecisiveness of doctor Bruce Bennett (Andrew) is pretty annoying.
The film keeps going without any lulls up until its sudden ending which could have better. Up to that point, though, it's good and Scott seems to be in complete control of his scheme until Emerson fights back with some psychological torture of her own.
Scott is excellent as the psychopath who has no empathy or feelings towards his victims. He is charming and totally evil. All the cast do well but Mona Freeman's personality changes are a bit unbelievable and the shy, indecisiveness of doctor Bruce Bennett (Andrew) is pretty annoying.
The film keeps going without any lulls up until its sudden ending which could have better. Up to that point, though, it's good and Scott seems to be in complete control of his scheme until Emerson fights back with some psychological torture of her own.
A neat idea for a film...but a few plot problems prevent it from being a great movie.
- planktonrules
- Jan 10, 2020
- Permalink
Truly Unnerving, Atmospheric Noir
- Handlinghandel
- Dec 4, 2004
- Permalink
The great seducer
An interesting commentary of the times is made when Mary Servoss remarks to her daughter Faye Emerson that with the housing shortage as it post World
War 2 it was a patriotic duty to house folks if someone had a spare room. Faye
poopoos the idea until the charming Zachary Scott comes along with limp and
suitcase and tells Emerson that the limp was a 'souvenir of the South Pacific'.
After that Scott is invited in. If Danger Signal were remade today a different
reason would have to be found for Scott to gain access to home and hearth.
But that's Scott's business. He's one charming seducer of the female sex and would have a career playing such. When he gets their money he murders them.
He concentrates first on Emerson, but she's seen a bit too much of the world and then he focuses on younger sister Mona Freeman. But the police authorities are closing in so he has to work fast.
If this seems to borrow a bit from Alfred Hitchcock's Shadow Of A Doubt, Danger Signal is a reasonaably good facsimile. It's a well cast bit of drama which could have used a more dramatic ending.
Still you'll find little to complain about.
But that's Scott's business. He's one charming seducer of the female sex and would have a career playing such. When he gets their money he murders them.
He concentrates first on Emerson, but she's seen a bit too much of the world and then he focuses on younger sister Mona Freeman. But the police authorities are closing in so he has to work fast.
If this seems to borrow a bit from Alfred Hitchcock's Shadow Of A Doubt, Danger Signal is a reasonaably good facsimile. It's a well cast bit of drama which could have used a more dramatic ending.
Still you'll find little to complain about.
- bkoganbing
- Sep 12, 2020
- Permalink
Psychological thriller that has an actual psychologist as a character...
... actually she (Rosemary Decamp as Dr. Jane Silla) is a psychiatrist.
The film opens on a man (Zachary Scott as Ronnie Mason) looking at the inscription on a woman's wedding ring. The woman is lying in bed, dead although she appears to be sleeping. Ronnie grabs most but not all of a large wad of cash from her purse and disappears down the fire escape as the landlady is banging loudly on the door. She has just found out the two are not married. The woman left her husband for this man two months ago, but she has died by poison and left a suicide note. The woman's husband vehemently disagrees that his wife would kill herself and demands justice. So all of this just establishes that Ronnie is a bad guy to the audience. We know who the villain is from the outset.
Ronnie really is a puzzle. He apparently is a writer of short stories and a semi successful one. The woman he killed did not have so much money that she would be worth jail or the chair. And Hilda, a workaholic stenographer and daughter of his next landlady, is not wealthy either. What is the point of him winning her over? But that he does. And then Hilda's younger sister returns from a convalescent home. And Ronnie turns on a dime and goes after her, mainly because he realizes she will come into some money when she marries. Because he and Hilda were so quiet about their romance at his insistence, he is able to lie and say that she pursued him and that there was never anything between them.
So what is up with this guy?That is where De Camp's Dr. Silla comes in. She explains - or tries to explain - Ronnie's psyche to Hilda who is now genuinely concerned for her sister's welfare if she marries Ronnie. Hilda talks about killing him. Dr. Silla talks "production code speak" as to how that would damage Hilda as much as Ronnie. I'm not so sure of that doc.
Throw in a charmingly awkward chemist with a crush on Hilda played by Bruce Bennett, a guy waiting for his draft notice, his voice to change, and for Hilda's younger sister to notice he is alive played by Richard Erdman,, plus that pesky husband of the first victim in this film, and you have to wonder - how exactly is Ronnie going to get his? Will he get his? Watch and find out.
I like this noir because it tries to introduce a psychological angle into Ronnie's behavior. Plus for a film made in 1945 it does not try and pretend that the war is just gone. It is part of the plot. And I like how Rosemary DeCamp turns what is basically a plot device into a full fledged character with a charming continental accent. And poor Zachary Scott. He looked like a villain and he played them so suavely that he was forever typecast.
There were really no big names in this one, but it is a worthwhile entry in the noir genre demonstrating how one normal looking sociopath can upturn the lives of so many average people, not by appealing to their greed as is true in so many noirs, but by appealing to their desire to be loved and understood.
The film opens on a man (Zachary Scott as Ronnie Mason) looking at the inscription on a woman's wedding ring. The woman is lying in bed, dead although she appears to be sleeping. Ronnie grabs most but not all of a large wad of cash from her purse and disappears down the fire escape as the landlady is banging loudly on the door. She has just found out the two are not married. The woman left her husband for this man two months ago, but she has died by poison and left a suicide note. The woman's husband vehemently disagrees that his wife would kill herself and demands justice. So all of this just establishes that Ronnie is a bad guy to the audience. We know who the villain is from the outset.
Ronnie really is a puzzle. He apparently is a writer of short stories and a semi successful one. The woman he killed did not have so much money that she would be worth jail or the chair. And Hilda, a workaholic stenographer and daughter of his next landlady, is not wealthy either. What is the point of him winning her over? But that he does. And then Hilda's younger sister returns from a convalescent home. And Ronnie turns on a dime and goes after her, mainly because he realizes she will come into some money when she marries. Because he and Hilda were so quiet about their romance at his insistence, he is able to lie and say that she pursued him and that there was never anything between them.
So what is up with this guy?That is where De Camp's Dr. Silla comes in. She explains - or tries to explain - Ronnie's psyche to Hilda who is now genuinely concerned for her sister's welfare if she marries Ronnie. Hilda talks about killing him. Dr. Silla talks "production code speak" as to how that would damage Hilda as much as Ronnie. I'm not so sure of that doc.
Throw in a charmingly awkward chemist with a crush on Hilda played by Bruce Bennett, a guy waiting for his draft notice, his voice to change, and for Hilda's younger sister to notice he is alive played by Richard Erdman,, plus that pesky husband of the first victim in this film, and you have to wonder - how exactly is Ronnie going to get his? Will he get his? Watch and find out.
I like this noir because it tries to introduce a psychological angle into Ronnie's behavior. Plus for a film made in 1945 it does not try and pretend that the war is just gone. It is part of the plot. And I like how Rosemary DeCamp turns what is basically a plot device into a full fledged character with a charming continental accent. And poor Zachary Scott. He looked like a villain and he played them so suavely that he was forever typecast.
There were really no big names in this one, but it is a worthwhile entry in the noir genre demonstrating how one normal looking sociopath can upturn the lives of so many average people, not by appealing to their greed as is true in so many noirs, but by appealing to their desire to be loved and understood.
Zachary Scott, the all-time movie cad
Pedestrian, Predictable, Terrible Ending
Dark and delicious
This is a must for film noir fans, and it deserves to be better known. If it had more of an A-list cast, it would probably be considered a classic.
At the very beginning it resembles Hitchcock's "Shadow of a Doubt." Zachary Scott plays a secretive writer on the run from the law, though for a while it's not clear whether he's really a criminal. Under an assumed name, he charms his way into a household of women.
From then on, the plot is original -- consistently clever but never confusing. Male treachery and female jealousy play their parts, and just when one character's motives become clear, you have to start wondering what another character is up to. If you guess how it all turns out, you're a psychic.
There is one little detail that's handled sloppily, but it comes early and is excusable. All in all, this is what a mystery should be.
At the very beginning it resembles Hitchcock's "Shadow of a Doubt." Zachary Scott plays a secretive writer on the run from the law, though for a while it's not clear whether he's really a criminal. Under an assumed name, he charms his way into a household of women.
From then on, the plot is original -- consistently clever but never confusing. Male treachery and female jealousy play their parts, and just when one character's motives become clear, you have to start wondering what another character is up to. If you guess how it all turns out, you're a psychic.
There is one little detail that's handled sloppily, but it comes early and is excusable. All in all, this is what a mystery should be.
wrong ending
Ronnie Mason (Zachary Scott) is a smooth talking con man and possibly a murderer. His victim's husband Thomas Turner is obsessed to find the perpetrator but the police is inclined to drop the case and classify it as a suicide. Ronnie is on the run and rents a room from the Fenchurch women. He tries to sweet talk older sister Hilda until he discovers that the younger sister Anne is in line for a large inheritance.
There are elements that I deem unrealistic. I'm not sure the sisters should be so friendly together. Anne falling for Ronnie would make more sense if there is a sibling rivalry between the sisters. There are turns that I like a lot. Getting Anne to write the suicide note is terrific. The poisoning idea is perfect. I don't think the high speed driving is right. There has to be a more poetic ending. I find out after watching the movie that the ending was changed due to the production code. I can see the better unmade movie in my mind.
There are elements that I deem unrealistic. I'm not sure the sisters should be so friendly together. Anne falling for Ronnie would make more sense if there is a sibling rivalry between the sisters. There are turns that I like a lot. Getting Anne to write the suicide note is terrific. The poisoning idea is perfect. I don't think the high speed driving is right. There has to be a more poetic ending. I find out after watching the movie that the ending was changed due to the production code. I can see the better unmade movie in my mind.
- SnoopyStyle
- Sep 12, 2020
- Permalink
Would you buy a used car from this man?
- rmax304823
- Jul 29, 2010
- Permalink
story of moidah..
Zachary Scott, probably best known for his role in "Mildred Pierce", is here as the boyfriend. gold-digger Ronnie (Scott) first makes the moves on older sister Hilda (Faye Emerson) for her money, but then moves on to younger sister Anne (Mona Freeman). it's not quite a murder noir, but close. it's pretty good. very typical film from the 1940s... a little dark, some mystery, but all quite harmless. this one is a little too sweet and sugary to be a murder noir; it's all very obvious who the bad guy is. no-one has to search for the murderer. no fog. no newspaper reporter searching following clues all over town. this one is more about suspense... will they figure it out, before Ronnie can do too much damage? Scott died quite young of a brain tumor. Film directed by french director Robert Florey. he had started in the silents, but directed talkies into the 1940s, then switched over to television. it's pretty good. just a little too light and fluffy at the end.
Not Purebred Film-Noir but a Peripheral Inclusion
This is another Film whose Basic Plot and Characters Fit Neatly in the Noir Genre, but Not Entirely, due to Common Ingredients and Intrusions that keep this from Pure Film-Noir.
Film-Noir was Truly an Inspired Zeitgeist of the Creative Filmmakers and this is an Example that included Scenes and Elements that would be Absent if it was a Conscious Crafting or a Beforehand Decision.
No One stood Around Hollywood and said, "Let's make a Film-Noir". The Genre was Defined After the Fact and was Created in a Spontaneous, Subconscious, and a Collective, Creative Style that Emerged Without Pretense.
The Sappy Ending, the awkward Comedy Relief, and other Conventional Mainstream Tropes are some of the Reasons that keep this in the Peripheral Noir. Although, Certain Actors, Cinematographers, and Directors seem Naturally at home in the Film-Noir Genre.
Here We have Zachary Scott, whose Oddly Handsome Looks have a Patina of Psychopathy. James Wong Howe behind the Camera was a Stylist of the First Order. Style is something that Noir Embellishes a lot More than its Studio System Sisters and here He Paints some Eerie Pictures.
Director Florey also Fits as some of His Films have Dark, Demented Elements and He is at His Best when He goes Off Beat from the Path of Safe used so Often and Tend to be Boring, Redundant, and Unremarkable.
Faye Emerson gets Top Billing and Passes as a Conflicted Wall Flower Who Undergoes a Change from Romantically Naive Working Girl, complete with big Horn Rimmed Glasses residing in Her Mom's Protective and Loving Home.
Mona Freeman is also Pretty and pretty Good as the Better Looking, but Young Girl Caught in the Killer's Charming but Lethal Web. Rosemary De Camp is quite Effective delivering Trendy Psychiatric Jargon with a Heavy Accent.
Overall, there are Enough Noir Ingredients to Qualify Inclusion in the Genre, but it's Not Purebred. Still Enjoyable for its Above Average Triangular Melodrama. It's a bit Short and could have used more Breathing Room to Expand the Things that Worked and would have Improved on its Noir Status Without the Audience Friendly Stuff.
Film-Noir was Truly an Inspired Zeitgeist of the Creative Filmmakers and this is an Example that included Scenes and Elements that would be Absent if it was a Conscious Crafting or a Beforehand Decision.
No One stood Around Hollywood and said, "Let's make a Film-Noir". The Genre was Defined After the Fact and was Created in a Spontaneous, Subconscious, and a Collective, Creative Style that Emerged Without Pretense.
The Sappy Ending, the awkward Comedy Relief, and other Conventional Mainstream Tropes are some of the Reasons that keep this in the Peripheral Noir. Although, Certain Actors, Cinematographers, and Directors seem Naturally at home in the Film-Noir Genre.
Here We have Zachary Scott, whose Oddly Handsome Looks have a Patina of Psychopathy. James Wong Howe behind the Camera was a Stylist of the First Order. Style is something that Noir Embellishes a lot More than its Studio System Sisters and here He Paints some Eerie Pictures.
Director Florey also Fits as some of His Films have Dark, Demented Elements and He is at His Best when He goes Off Beat from the Path of Safe used so Often and Tend to be Boring, Redundant, and Unremarkable.
Faye Emerson gets Top Billing and Passes as a Conflicted Wall Flower Who Undergoes a Change from Romantically Naive Working Girl, complete with big Horn Rimmed Glasses residing in Her Mom's Protective and Loving Home.
Mona Freeman is also Pretty and pretty Good as the Better Looking, but Young Girl Caught in the Killer's Charming but Lethal Web. Rosemary De Camp is quite Effective delivering Trendy Psychiatric Jargon with a Heavy Accent.
Overall, there are Enough Noir Ingredients to Qualify Inclusion in the Genre, but it's Not Purebred. Still Enjoyable for its Above Average Triangular Melodrama. It's a bit Short and could have used more Breathing Room to Expand the Things that Worked and would have Improved on its Noir Status Without the Audience Friendly Stuff.
- LeonLouisRicci
- Jun 13, 2015
- Permalink
Better Than Average Soap Nori - Danger Signal
Although we all know we have the usual Hollywood ending in store for us, Danger Signal is still fun to watch as we see a wonderfully evil Zachary Scott break the hearts of a trail of women. Before there was TV and TV soaps, viewers had to go to the movies to get their soap, and Hollywood was quick to capitalize on their needs. A good soap, usually a B film, was made at a clip of two or more a week, and kept most of the female attendees quite entertained. This is one of the better ones; although a bit dated by modern standards. Many ladies will still enjoy it, however. Of course, with a different ending, the film could have approached classic status. The conclusion of the film looks like it was written by the Hayes Commission, and suffers greatly from it.
- arthur_tafero
- Jul 21, 2021
- Permalink
Tight noir
Great B noir with a darn good cast. Zachary Scott plays a deadly womanizer, a copycat of the role he played in Mildred Pierce.
There seems to be a bit of misinformation about which movie was filmed first. Mildred Pierce started filming in late Dec. 1944 and wrapped in late Feb 1945. Danger Signal started filming in March 1945 and ended in May 1945. Likewise, Mildred Pierce was released well before Danger Signal.
Regardless, both films firmly established Scott's screen persona for the rest his career. He remains a key actor in the early noir cycle.
There seems to be a bit of misinformation about which movie was filmed first. Mildred Pierce started filming in late Dec. 1944 and wrapped in late Feb 1945. Danger Signal started filming in March 1945 and ended in May 1945. Likewise, Mildred Pierce was released well before Danger Signal.
Regardless, both films firmly established Scott's screen persona for the rest his career. He remains a key actor in the early noir cycle.
- ldmede-48385
- Sep 12, 2020
- Permalink
A GREAT FILM, WITH A GREAT CAST OF CLASSIC ACTORS!
This film was full of suspense and was well directed, the black and white effect made it a great mystery. Fay Emerson,(Hilda Fenchurch) who was married twice to the famous musician Skitch Henderson and also the son of Elliott Roosevelt, (FDR's Son) fell madly in love with Zachary Scott( Ronnie Mason/Marsh). Ronnie wins the hearts of all the ladies in the picture, even Mona Freeman(Anne Fenchurch) and proposes marriage whenever he can. Rosemary DeCamp (Dr. Jane Silla)(famous radio and tv actress in the 30's and 40's played mostly small town MOM'S) warned the ladies about Ronnie Mason's sick mind, and the abusive childhood he had when growing up, which caused his love/hate relationship with women. Fay Emerson and Zachary Scott would have been greater stars with more rewarding roles, but their lives were short lived in real life. This film is beyond critizing, it is a trully great 1945 film classic for many generations to view and enjoy!
Dated and lame noir compromised further by Hays Code restrictions
Kudos to the stuntman
- Captain_Woodrow_Call
- Aug 7, 2010
- Permalink
Slack
- dougdoepke
- Apr 21, 2009
- Permalink