Entfesselte Unterwelt

Fingerman is a good example of a 50's style crime drama. The basic plot line is: a man who has spent a lifetime committing crimes is "back at work" after his latest release from prison. While committing a hold-up by hijacking a truck, he carelessly drops a pack of cigarettes on the road with his fingerprints all over them and is nailed by the feds. Given a choice to go free if he becomes a stool-pigeon, he has to decide if he'll work for the feds to nab a crime kingpin.

Although there are no major stars, the performances are mostly good. Frank Lovejoy specialized in this type of role, a cynical protagonist caught up in circumstances beyond his control. Forrest Tucker (as the crime boss) and Peggie Castle (as Lovejoy's girlfriend) do well also. Timothy Carey (one of the most bizarre actors in screen history) is a standout as a torpedo in Tucker's employ.

The direction is decent but not outstanding, yet there are a few good moments, such as when two of Tucker's henchmen toss an informer in front of an approaching vehicle. Much of the action occurs at night, thus adding to the "noir" feel of the movie.

The film is unquestionably dated, and may bore younger viewers who need explosions or special effects every five minutes, but if you like 50's crime drama, Fingerman is a good way to kill an hour-and-a-half.

A minor classic of sorts with 'hidden-gem' vibes, this fast-paced undercover informant cops-vs-mob movie, features memorable characters and locales, some excellent noirish shots here and there, plus an almost sociological view on this gang of hoodlums and its vices. Unusually, the musical score caught my attention with some expressive work that is superior to what one might typically expected from this kind of B-movie. Poignantly, a quote at the end from our protagonist (in voice-over, which appears sporadically throughout the movie) brings a frisson when you know that the actor died not very many years afterwards. Recommended.

Does the perfect crime exist? Casey Martin (Frank Lovejoy) appears to be intent on discovering the hard way that it doesn't. Having just spent nine years behind bars, he executes an efficient highway heist, only to snooker himself via a discarded cigarette pack, falling foul of both the police and the Treasury Department as a repercussion.

Lovejoy is offered the choice of a lifetime in the slammer, or a liaison with the good guys to bring down big time operator Dutch Becker (Forrest Tucker). Just one small problem....he's likely to catch a bullet, or six doing it. At the risk of winding up with more holes than a colander, he takes his chance to nail the ruthless, string pulling kingpin.

The former jailbird launches himself gamely into the double dealing, fast talking, hard drinking, heavy smoking, moll mangling, fist flailing, sharp shooting, underhand, underworld sewer dominated by heavy weight Tucker, replete with his entourage of hoods, hookers, hostesses and hangers-on. Tucker is the manipulative button pusher behind illegal hooch and gambling rackets across nine states, who, in a calm, reassuring manner asks only for honesty and loyalty from those on his payroll. Unsurprisingly, any disloyalty results in rather more than a fatherly arm around the shoulder and a quiet corrective word of advice.

Access to the big shot's tawdry activities involves developing an intimacy with beautiful Peggie Castle, who finds herself walking on increasingly thin ice as a consequence. Lovejoy also experiences a seething reacquaintance with Tucker's sidekick, long faced, lugubrious and latterly lachrymose Timothy Carey.

Not outstanding or exceptional, but consistently engaging and entertaining. Finger lickin' good!

Frank Lovejoy is a three-time loser whose fingerprints have just turned up at the site of a truck heist. The Feds give him a choice: a lifetime in prison or help them get the dirt on mob head Forrest Tucker. Lovejoy has never talked, but when he sees what happened to his sister, Evelyn Eaton, he agrees. He gets Peggy Castle, with whom he has begun an affair, to introduce him to the big man.

Harold Schuster directs this as a straight, tough, ugly crime drama, where everyone is twitchy, except for Tucker, who talks emotionally of loyalty and honesty and has people killed. Lovejoy plays the role as a man about to explode at any moment, and knocks a few people down with his fists.

It's a very handsomely directed B, but it's too cheap and it came too late for anyone to break out. Schuster had directed some terrific westerns, and would soon get his shot in the Tarzan franchise.... and then settle down to TV work. Likewise Tucker. As for Lovejoy, he had the look and voice for the RKO B noirs, but that was five or ten years in the past; he already was performing on TV, and he would die in 1962, just 50 years old.

"Fingerman" (1955) is a blunt, no-nonsense title for an excellently-crafted no-nonsense movie that seems to take itself just seriously enough to make it a little police-story masterpiece. The story of how an almost three-time loser agrees to a dangerous effort of nabbing an underworld kingpin for the Treasury Department is taut and dramatically exciting, with some "noir" thrown in for good measure. Crisp and convincingly delivered dialog is conducted in many 1950's-style locations, including night time streets illuminated by glowing street lamps, garish but yet swank nightclubs, dark back alleys, musty-appearing warehouse interiors, and small, dingy apartments, just to name some. We also get to see police techniques unfold and state of the art police equipment of the era put to good use. But best of all, we enjoy some really excellent character development, including relationships that grow in suspenseful ways, including the one between Casey (Frank Lovejoy) and Dutch (Forrest Tucker) and the one between Casey and creepy henchman Lou (Timothy Carey). Peggie Castle is likewise very watchable in her role. The carefully articulated music score is underplayed and successfully and unobtrusively adds to the suspense and the magic of the film. And one more added bonus is the sight of early 1950's Cadillacs and other vehicles, which punctuate the movie with even more compelling atmosphere. What's more, no annoying mistakes or problems in the positioning of actors or props made themselves apparent to this observer. So yes, this is a magnificent piece of film making on a less than grand budget and I can't imagine buffs of old films would not like it a whole lot.