"Naked Alibi" is bargain basement, but a 6.5 rated noir--and this is accurate, I think, is always worth a view, at least on a down night. And there are some definite interests in and around the three leading characters.
Gene Barry (Al Willis), besides drawing the most despicable role, is also most put out of shape by the devious plot. Given this, he does a pretty decent job of delivering a warped and memorable villain. In the early scenes, the poor guy is faced with playing such a mess of characters that you marvel at his and your own tolerance. But overall, while clearly overacting at times, he does bring off some telling scenes. And somehow, with a little help from his chief pursuer, he manages to hold our interest--if only because of his weird and nasty character, and his naked alibis, which makes him a kind of embodiment of evil.
Sterling Hayden (Chief Joe Conroy) who is his single-minded pursuer, does indeed keep one glued to the action. His trademark body language alone is enough to compel attention, but it's his driving force spurred by an absolute conviction of the guilt of a cop-killer that saves the film from low end status.
Hayden is not performing some modern movie cop whose obsessive pursuit of a criminal is supposed to blur both identities. No, there are convincing & distinct differences between these two men in character, intent, and principles. Nor is he the detective who moons over the alluring heroine like say Dana Andrews does in "Laura" (we want Sherlock Holmes to sleuth). He's a detective and Police Captain, and acts accordingly. Also, since he doesn't see himself as bitten by the law, he doesn't cheat the law, using it rather to his ultimate advantage--his determination always quelling excessive force. All this may spell him out as the lonesome hero, the man in the shadows of the night, but these restraints are exactly what lens brass to "Naked Alibi."
Gloria Grahame (Marianna) is, in some ways, Conroy's parallel. Both are victim of the same gangster, and trying to extricate themselves from his clutches. Both are sympathetic and tough. Both are in rhythm and apart. Both belong to the night, and to lonesomeness. If she is from the underworld--and more battered, and imperiled for that, and he the police precinct, they nevertheless have the same straight spine, the same sense of what's human, and the same understanding of personal restraint--thankfully!
Gene Barry (Al Willis), besides drawing the most despicable role, is also most put out of shape by the devious plot. Given this, he does a pretty decent job of delivering a warped and memorable villain. In the early scenes, the poor guy is faced with playing such a mess of characters that you marvel at his and your own tolerance. But overall, while clearly overacting at times, he does bring off some telling scenes. And somehow, with a little help from his chief pursuer, he manages to hold our interest--if only because of his weird and nasty character, and his naked alibis, which makes him a kind of embodiment of evil.
Sterling Hayden (Chief Joe Conroy) who is his single-minded pursuer, does indeed keep one glued to the action. His trademark body language alone is enough to compel attention, but it's his driving force spurred by an absolute conviction of the guilt of a cop-killer that saves the film from low end status.
Hayden is not performing some modern movie cop whose obsessive pursuit of a criminal is supposed to blur both identities. No, there are convincing & distinct differences between these two men in character, intent, and principles. Nor is he the detective who moons over the alluring heroine like say Dana Andrews does in "Laura" (we want Sherlock Holmes to sleuth). He's a detective and Police Captain, and acts accordingly. Also, since he doesn't see himself as bitten by the law, he doesn't cheat the law, using it rather to his ultimate advantage--his determination always quelling excessive force. All this may spell him out as the lonesome hero, the man in the shadows of the night, but these restraints are exactly what lens brass to "Naked Alibi."
Gloria Grahame (Marianna) is, in some ways, Conroy's parallel. Both are victim of the same gangster, and trying to extricate themselves from his clutches. Both are sympathetic and tough. Both are in rhythm and apart. Both belong to the night, and to lonesomeness. If she is from the underworld--and more battered, and imperiled for that, and he the police precinct, they nevertheless have the same straight spine, the same sense of what's human, and the same understanding of personal restraint--thankfully!