Skandalblatt

I sought out this film for two reasons. First, it was written by Sam Fuller and I have been trying to watch as many of his films as I can--they are, with only a few exceptions, great films. Second, I have always liked Broderick Crawford, as he had a way about him--portraying unrelentingly tough guys. With my love of film noir, it's a natural that I'd love seeing his ugly mug! Well, after finishing this film, I found that I wasn't disappointed. The writing, direction and acting were all very good.

Crawford stars as a man who has been brought in to save a dying newspaper. To make it successful, he gives the public what it wants--scandal, sleaze and violent content. While many of the paper's stockholders can't stand what he's done to make the paper solvent, he has made them rich--and it's hard to argue with success--even at this price.

One of Crawford's reporters is John Derek. Usually I don't like him in films, as he's just too pretty. Here, however, he was just fine--pretty, sure...but fine. Derek specializes in sniffing out cases and one new case really intrigues him. An unidentified woman is found dead. It clearly looks like an accidental death but Derek's instincts tell him it was staged to look that way, so he pushes and pushes investigators to dig deeper. Yes, it turns out she was murdered...but WHO did it and WHY is what makes this film very, very intriguing.

In addition to Crawford and Derek, the film also stars Donna Reed and Henry O'Neill. Reed plays a woman who is like the voice of conscience in the movie--always appalled at Crawford's methods and making it clear that she wants no part of this degradation of the paper. O'Neill, however, is the more interesting guy. In the 1930s and 40s, O'Neill had very steady work and was a familiar face at MGM in supporting roles (having appeared in 177 films and TV shows during his career). By 1952, his career was on the decline and his output reduced significantly. Here, he makes a bit of a last hurrah AND gets to play a role that stretched his abilities--playing a down-and-out drunk whose character evolves and shows great depth during the course of the movie.

Overall, the film is taut and exciting. Whether or not you'd call it film noir is a tough one, as definitions vary tremendously. Considering that the cops are purely secondary characters and there isn't the same criminal atmosphere in the film as noir, I'm not sure I'd call it noir. But, it is at least noir-like and is sure to please anyone who likes the grittier sort of film Hollywood did so well during this era.

Watch Crawford sweat this one out! Great fun with Broderick Crawford as managing editor of a "Scandal Sheet" newspaper, with John Derek and Donna Reed on staff as reporters. The film uses the technique of showing the murderer's identity as the crime is committed (it's editor Crawford); then we watch him squirm as the reporter hero (Derek) and heroine (Reed) try to identify the killer and cover the story.

Mr. Crawford must give the "Lonely Heart Killer" big coverage in his tabloid newspaper, or risk suspicion. When a possible witness turns up, things get complicated. Henry O'Neill is great as a washed-up old drunk who used to work for Crawford's newspaper. The film has a great style… beautiful black and white photography directed by Phil Karlson. Recommended viewing!

******** Scandal Sheet (1952) Phil Karlson ~ Broderick Crawford, John Derek, Donna Reed

Broderick Crawford is the publisher of a "Scandal Sheet" in this 1952 noir directed by Phil Karlson and also starring Donna Reed, John Derek, and Rosemary DeCamp.

Crawford plays Mark Chapman, a ruthless tabloid publisher who is bringing along a young, ambitious reporter, Steve McCleary (Derek). When a woman (DeCamp) who attended the tabloid's Lonely Hearts Dance is found dead, McCleary investigates further and finds out that she was murdered. He's determined to track down the killer, not realizing that the murderer is very close by.

Good, fast-paced noir from Columbia. Lovely Donna Reed plays Julie, who writes features and eschews the tabloid side, while the hunky Derek is a guy who loves to go after a good story and is interested in Julie. Harry Morgan is a photographer. Henry O'Neill plays Charlie, a formerly great, not drunk journalist who knows more than he should. The acting is good all around.

Crawford was one of those character actors whose talent brought him to leading roles. We boomers will know him forever as the star of "Highway Patrol" and his barking "10-4." Reed, Morgan, and DeCamp went on to make their marks on television, and Derek would retire from acting on concentrate on promoting his beautiful wives.

Based on a story, "The Dark Page" by director Sam Fuller, this film is well done, and if you like noir, you'll enjoy it.

Broderick Crawford stars in this exciting film noir from 1952..Fast paced & keeps viewer in suspense till the end..Excellent cast, including Crawford, handsome John Derek, intelligent beautiful, Donna Reed.and Harry Morgan..However..ROSEMARY DeCAMP, is outstanding in her brief but important scenes.. This is unlike her other screen work..Rosemary ,for me, steals the show!.Worth seeing ..Thanks again to TCM for showing this today on Broderick Crawfords day a fine, underrated actor . I started watching @ 20 minutes after film began ( I don't usually do this)and I was "hooked" as I saw Rosemary DeCamps close up at rally for "forlorn lovers" DeCamp recognizes Crawford ,her former husband, who has now changed his name and persona.. I stopped everything and could not stop watching till the end I wont tell you what happens.I hope TCM shows again soon so I can view the scenes I missed at the beginning

Gripping storyline fueled by some heavy duty irony. Crawford plays a ruthless tabloid newspaper editor who has the tables turned on him when he commits a crime, then finds himself having to encourage his top reporter to get to the bottom of the story, in order to deflect suspicion. Top notch suspense as Crawford gambles that he can keep his cool and get away with it, even as the walls close in and the odds look worse and worse. The dialogue is typical Samuel Fuller, (he wrote the novel upon which the film was based) colorfully gritty but at times head-scratchingly obtuse. Crawford is at his no-nonsense, take no prisoners, mince-no-words best, and able support from a young John Derek and Donna Reed (smoking cigarettes and a little less squeaky clean than usual). Good stuff.