Jeanskynebu the audience applauded

Stevecorp Don't listen to the negative reviews

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

ksneath This fine example of Film Noir differs from many in that the film is rather more plot-driven than character-driven. This is not to say that the characters are flat, but simply that the mechanics of the film focus first on telling the story. As such, you don't get unforgettable personas common to many top-tier noir films (like The Big Heat or Double Indemnity for instance). However, what you do get is an intriguing picture that keeps your interest throughout its 99 minute runtime.The cinematography is classic noir, full of deep shadows and interesting compositions. Another fairly uncommon aspect of a movie with these elements is that it continually alternates between very seedy, grimy locations and high society venues, providing an interesting contrast in social spheres, but maintaining the same dark, foreboding mood in both.Although the cast is not full of top-billing names, the principle characters are solid and fit well within the story. Of course it is fascinating to see Lucille Ball in a pre-Lucy role, playing a straight part to good effect (for another good early role, see "Lured"). Stevens, while occupying the part of the leading man, gives an appropriate if still forgettable performance. Bendix and Webb combine with very different roles to make good antagonists, while the little-known Cathy Downs glows with a classic femme-fatale beauty.All-in-all a good movie that sparkles with noir lighting in addition to a good plot which should hold your interest throughout. Recommended.

Jay Raskin This movie is rather clunky in dialog, character and plot. Individual scenes are nice, but nothing really grabs the viewer. The dialog seems more like bad imitation of film noir. The characters lack depth and always seem to be straight off the page of a novel. The plot has many surprises, but some of them are simply stupid. For example, the hero detective overhears that the man trying to frame him left two suitcases in the back of a cab. Instead of figuring out a clever way to get to see the contents of the suitcases, he just steals the cab. Considering that he is wanted for murder by the police when he does this, one finds the action quite incredible.All the actors are fine, with Mary Downs, William Bendix (as usual) and Clifton Webb being stand outs. According to the DVD discussion, Lucille Ball hated making the film and had a nervous breakdown, but this is not evident from what is on screen.The cinematography and fight scenes are quite nicely done. There's a good selection of Big Band music from the period.I think if you're expecting a rather ordinary film noir, you'll enjoy it, but if you expect something on the level of "Double Indemnity," "Out of the Past" or "Murder, My Sweet," you'll be disappointed.

RanchoTuVu New York private investigator Mark Stevens gets interested enough in his secretary (Lucille Ball) to take her out after work to a New York arcade where she mentions that they're being followed by a guy in a white suit (William Bendix). A true pro would never try to tail anyone while standing out in a crowd by wearing a white suit, and it turns out that this is part of a masterful plot orchestrated by wealthy art gallery owner and collector Clifton Webb to take advantage of Stevens spotted past. Of course Webb, who played a few dangerous characters (i.e. the one he played in LAURA) has a young wife (Cathy Downs) who is only in it with him for the money and gives her affection to blackmailer and social climber Kurt Kreuger who knew Stevens when they worked together in San Francisco. How Webb could have known about Stevens and Kreuger is up to speculation on the part of the viewer, but certainly if anyone could come up with such a way of getting rid of someone, Webb's character could. William Bendix stands out in his role as the hired muscle, living in a ground floor flat with a couple of cool scenes of him phoning Webb from a phone in the hallway while a little girl neighbor bothers his concentration while blowing on a kazoo. In fact the acting by everyone is restrained enough by director Henry Hathaway and the script doesn't let anyone down.

wes-connors After serving time for involuntary manslaughter, private investigator Mark Stevens (as Bradford "Brad" Galt) relocates from California to New York, and sets up shop. Attracted to new secretary Lucille Ball (as Kathleen Stuart), Mr. Stevens takes her out for dinner and dancing. During their date, Stevens and Ms. Ball are followed by a white-suited William Bendix (as Stauffer). Stevens thinks Mr. Bendix may have been sent by former business partner Kurt Kreuger (as Anthony "Tony" Jardine), who is having an affair with Cathy Downs (as Mari), the beautiful wife of wealthy art dealer Clifton Webb (as Hardy Cathcart).Director Henry Hathaway and 20th Century Fox get far more than they bargained for with this unheralded crime drama. Though he is billed fourth, Stevens does well in the lead. "There goes my last lead," he says, "I feel all dead inside. I'm backed up in a dark corner, and I don't know who's hitting me." Ball is startlingly good, in an atypical role. Conversely, Mr. Webb and Mr. Bendix succeed by reprising familiar characterizations (in "Laura" and "The Glass Key"). Joe MacDonald's black-and-white cinematography is the film's most obvious strength. And, you get a moderate dose of queenly Constance Collier (as Mrs. Kingsley).******* The Dark Corner (4/9/46) Henry Hathaway ~ Mark Stevens, Lucille Ball, Clifton Webb, William Bendix