Hellen
I like the storyline of this show,it attract me so much
Protraph
Lack of good storyline.
Intcatinfo
A Masterpiece!
LeonLouisRicci
Director Don Siegel's Cynicism is on full Display in this Underseen Minor Work that fits in the Film-Noir Category quite Firmly. Siegel once Again Displays some of the Seedier aspects of the Human Condition. Quick on the Trigger Law Enforcement, an Attorney who has a Dual Nature willing to Help the Helpless but Not Adverse to Seducing an Unwilling and slightly Dim Female, and a Court System with some Serious Flaws.Director of Photography John Alton Adds much Atmosphere to the limited Budget, and Jack Elam is a Standout mentally Disturbed Criminal. The much Hated Theremin inclusions are Misplaced but can be Ignored because of the better Touches used by Siegel, Alton, and a good Trio of Actors, MacDonald Carey, Theresa Wright, and Jack Elam. The other Actors Strain for Credibility. Overall, a Minor Film-Noir but Worth a Watch for sure. It's Odd enough and Tense throughout thanks to the Creative Hands of Siegel and Alton.
dbdumonteil
The great director who would make " invasion of the body snatchers" "the killers" "the beguiled" and even Elvis' best ("flaming star") is already present;his flair for film noir and for disturbing atmosphere is glaring in the scene in which the diver tries to rape T. Wright:the way Siegel films his eyes is absolutely terrifying ;ditto for the scenes when the lawyer looks for the former employee;oddly Siegel does not seem to very interested in T.Wright's character and the last scenes are given over to Dolores Moran and Adele Mara,who are relatively obscured thespians compared to the star of "shadow a doubt" and Wyler's war movies.However,the movie is absorbing and a must for suspense buffs.Like this ?try these "phantom lady" (Robert Siodmak,1944)"time without pity" (Joseph Losey ,1956)"they won't forget " (Mervyn LeRoy,1937)
last-picture-show
A minor noir classic. Superbly photographed with some good performances and an unusual score by Louis Forbes featuring excessive use of a haunting Theramin and a wonderful dream-like sequence in the courtroom where he uses a repeated piano motif in a modern, almost ambient style. Watch out for the continuity error at the end. The accused, Max Vern (Jack Elam), returns to his home in a fit of rage. Notice that he is walking towards a lone house (in long shot) which looks strangely familiar. Why it's the same house that he (the killer) is seen walking towards in the very first shot of the movie where the farmer and his housekeeper are killed! Confusing huh? Director Don Siegel may have been trying to make a subliminal point here but I guess the truth is that due to budget restrictions he liked the location so much he used it twice.
David (Handlinghandel)
This is far from the best Don Siegel movie. But, despite flaws in writing and acting, it's gripping and moves along, keeping the viewer on the edge of his or her seat.Nothing is really credible. Theresa Wright as an itinerant farmer's wife? Actors with pronounced New York accents as menacing rednecks? And something about the script seems truly sub-par. The dialogue is not grammatical and this is not a matter of simulating regional speech or signifying class. The dialogue is just not well written.The music, too, is strangely self-contradictory. At first it is pure schmalz, and Don Siegel is not the man for romance, even if it's romantic noir. Then a theramon is introduced and it sounds better.Despite quibbling on my part, it's an engrossing movie. Believable? Not exactly. But, if one cuts it some considerable slack, it works well as a suspenseful kind-of noir.
