One of the better light films noirs (which may be a contradiction in terms), with a débonnaire Fat Man, the ever beautiful Julie London, and an intrigue with lots of twists. I have seen it many times with renewed pleasure. And at last in HD. Thank you.
Thanks, I'm glad you enjoyed it. You're right, the lightheartedness works here despite the context, likely since J. Scott Smart is in his element! I'm not sure it's really as good as HD, but I'm glad my editing helped improve the experience. Thanks for taking the time to comment.
An ultra-dramatic opening sequence, in classic noir tradition, sets the scene for this compact and enjoyable little film. The opening frame traces the footsteps of a man decisively making his way through the archetypal big city at night heading towards his single-minded destination. The camera man makes a special point of panning in on his pair of gloves as he strides through ominous shades of shadow and light across the foyer of a high-rise hotel. You sense his mission, instinctively, and anticipate what is to follow. He is 'dressed to kill' sporting a jet-black designer outfit synonymous with intrigue. Within minutes, he proceeds to conduct his business with the efficiency and clinical touch of a dental surgeon extracting a troublesome molar. It is a flawless execution. As harrowing as the episode is, the noirish voice within you marvels at the professionalism of it all. The wheels that drive this appetizing mystery thriller are hereby set in motion. You are challenged to join the dots to establish unlikely connections between seemingly incongruent entities: the palatable world of the gastronome on one hand and the masked world of the circus performer on the other. Somewhere betwixt this lies the enigmatic and puzzling question of an, apparent, inconsequential dental practitioner. It is against this backdrop that the main plot unravels and plays out - an amazing testimony to the skill of production teams of B-Graders of the day who were able to condense multiple scenarios and themes into an integrated whole on a limited budget and impeded by time-constraints. You will appreciate the balancing act between the comic and the serious. J. Scott Smart lives up to his name. He is as smart as they come: quick-eyed, sharped tongued, fleet and fancy footed, connoisseur extraordinaire - he is Mr Versatility personified, notwithstanding his corpulent frame. He is the real treat in this picture, serving up a delectable performance. Watch him strut his stuff around 37:49 immaculately attired, resembling a mafia don. Yet, beneath this outward appearance, the man abounds with the spirit of humanitarianism and compassion. Julie London, as always, catches the eye (but not the ear, alas) and a young Rock Hudson announces himself. Thank you, Isabella. I always look forward to your films.
Thanks, Charlie, I wasn't sure what to expect from this one, judging from the title and knowing it had some comedy aspects. William Castle and the scriptwriters did a good job, in conjunction with J. Scott Smart. It's effective and strikes a good balance. The plot is not predictable either, and all on a low budget, a job well done! It was good to see Rock Hudson outside of his typical role, and I'm sure J. Scott Smart loved having the opportunity to demonstrate his dancing abilities. Emmett Kelly also worked well, it's impressive, low budget allows more experimentation. I'm glad you enjoyed it, I should find some more light-hearted films for a change...
Lovely to see Julie London in another film. What can I say; she was a fine looking lady. The scene where Julie, at 157cm, was slow dancing with Rock Hudson, 191cm, was charming; but her arms were nearly vertical to reach his neck (32:04). I couldn’t help but notice the similarity between the character Shifty (23:16) and the character Leo Getz in the film Lethal Weapon 2. Thank you for delving into Julie London’s film career a little deeper. I would ask the producer of this film why she was not given at least one song to sing, as I am sure her voice is appropriate for this Noir film, but it is likely I would be told to: Cry me a river.
I did not notice the height difference, I always imagined Julie London was taller, I always imagine people are taller when they appear more confident! I haven't seen Lethal Weapon 2, though I'm quite sure filmmakers frequently take inspiration from older films. The singing search continues 🎵 I'm happy you enjoyed the movie.
@@isabellamars The height reference I made was just a passing observation. I did find two songs of Julie London on RU-vid (“What can I say” and “Cry me a river”) to which I made subtle references in my last comment. Any film you find and post will be nice; nothing has disappointed thus far.
