Produced and released by Warner Bros. Pictures, Inc., by whom copyright 11 February 1950. Released 11 February 1950 (U.S.A.), 13 August 1951 (U.K.), 27 July 1951 (Australia). New York opening at the Globe: 26 January 1950. 8,139 feet. 90½ minutes. Shooting title: Somewhere in the City.
SYNOPSIS: Complex crime yarn following Mayo and MacRae as they search for ex-G.I. pal O'Brien, who is on the lam for a murder he didn't commit.
NOTES: Second collaboration of writers Ivan Goff and Ben Roberts. Their first was White Heat (1949).
COMMENT: A moderately suspenseful thriller with engagingly atmospheric photography, some fair action sequences, and at least one stand-out support performance (Viveca Lindfors). In fact, all the support players walk rings around the two principals, here somewhat out of their element in non-musical roles. Actually, Virginia Mayo is not in the film to the extent her top billing implies (and often in TV transmissions her part is the first to be trimmed).
The identity of the real killer is obvious, but nonetheless intriguing thanks to the skillful playing of the person concerned. The film is also a bit slow to get under way and there are some extraneous episodes that could have stayed in the cutting-room (but were doubtless left in to build up Miss Mayo's part). These things aside, the film is directed at a reasonably fast pace and with a modicum of power and style.
Production values are no more than average by "A" standards but behind-the-camera credits (sets, costumes, music, film editing) reflect the usual craftsmanship of Warner Bros. studio.
SYNOPSIS: Complex crime yarn following Mayo and MacRae as they search for ex-G.I. pal O'Brien, who is on the lam for a murder he didn't commit.
NOTES: Second collaboration of writers Ivan Goff and Ben Roberts. Their first was White Heat (1949).
COMMENT: A moderately suspenseful thriller with engagingly atmospheric photography, some fair action sequences, and at least one stand-out support performance (Viveca Lindfors). In fact, all the support players walk rings around the two principals, here somewhat out of their element in non-musical roles. Actually, Virginia Mayo is not in the film to the extent her top billing implies (and often in TV transmissions her part is the first to be trimmed).
The identity of the real killer is obvious, but nonetheless intriguing thanks to the skillful playing of the person concerned. The film is also a bit slow to get under way and there are some extraneous episodes that could have stayed in the cutting-room (but were doubtless left in to build up Miss Mayo's part). These things aside, the film is directed at a reasonably fast pace and with a modicum of power and style.
Production values are no more than average by "A" standards but behind-the-camera credits (sets, costumes, music, film editing) reflect the usual craftsmanship of Warner Bros. studio.