Shadowed

Sweet, innocent and a little bit bungling is Lloyd Corrigan as fencing salesman Fred J. Johnson. Fred is a widower with two lovely daughters and an affinity for golf. On one fateful day, he is on the golf course alone practicing and he gets a hole in one. Without anyone to witness the event he dates and signs the ball...then he proceeds on his next shot to loose it in the woods. While looking for his special ball...he comes across criminals in the midst of a crime. He doesn't get all of the details, but he gets enough and when a body shows up the right thing to do would be to go to the police, only they threaten his family!

The best part of this noir is Lloyd Corrigan! His interactions with his daughters in particular are endearing. Sweeter and more comedic than most film noirs, I still think this should be on Noir lists to see. They can't all be hardboiled!!!!

Oh! And I loved Lester Binkey's obsession with true crime! It reminds me of the current times.

When Lloyd Corrigan's drive hooks into the woods, he follows it and, unseen, finds two people burying a corpse. The criminals find the ball and warn him not to go to the police and he worries about his duty and the risk to his daughters, Anita Louise and Terry Moore. Meanwhile, the murders are trying to track down Corrigan, because he's got the plates for their counterfeiting racket in John Sturges' second movie as director.

The most interesting touches to this Columbia second feature mystery is the way that cinematographer Henry Freulich shoots it. The early portions with Corrigan and his family are shot in bright lighting, with some light-hearted banter, while baddies Wilton Graff and Doris Houck are shot in noirish shadows. As the movie progresses and Corrigan's worries and situations worsen, the shadows lengthen and his own world grows dark and the musical cues agitato.

The movie never progresses much beyond its B roots, of a gemutlich, normal family menaced by criminals outside the pale of hard-working, well-meaning law enforcement. Within those confines, however, the cast and crew show themselves capable of good work.

John Sturges' second directorial effort is better than its B programmer status might suggest. The script relies on quirky dialogue, especially between the male lead and his two daughters and it rates reasonably credible in spite of the occasional hole.

Cinematography by Henry Freulich is adequate if nothing to write home about, It is interesting that the film's initial quarter happens mostly in the open, in broad daylight, then, as Fred Johnson begins to experience difficulties, it grows darker, ending on a heavy chiaroscuro note.

The standout item is Lloyd Corrigan's performance, far more complex than one might suspect at the outset, as bumbles about a golf course. It carries a very broad spectrum of sensitive emotions, from comic to deep concern as he begins to realize that his younger daughter might be in peril. Real virtuoso display from Corrigam within the limitations of a B pic.

Another pleasant aspect is the stunningly elegant. Anita Louise. Sadly, she does not appear much on the screen and her performance is rather quiet.

Not a top notch B programmer, but certainly no waste of time.

This is not your big Hollywood production; strictly B actors and production values. But the involvement of a real pro as a director, John Sturges, elevates this program filler to a notch above the ordinary.

The screenplay and dialogue are first-rate, but the Hollywood ending mars the film from being even better. Despite the inevitable Hollywood ending, the movie keeps us involved in a serious conundrum; do your cooperate with the police if the safety of your family may be at stake? I would be more inclined to cooperate with the criminals.

The performance by the Fred Johnson character is more than adequate, but the best performances are by the criminals involved.