Culpable

Extremely Low-Budget Film-Noir that manages to entertain due to a strong Storyline (cribbed from Dostoevsky's Crime and Punishment) and some nifty Camera Work and a creative overall Style. What it lacks in slickness it makes up for in Mood and some expressionistic flourishes.

There is a rather tacked-on, weak ending that is a misstep of the first order, but that disappointment aside, this is one of the better attempts at Bargin Bin Noir. There is a sombre and fatalistic tone throughout and there is much more Psychology found here than in most Bottom Rung Programmers. There is a good deal of Cat and Mouse and a lot of Soul Searching.

Despite its restrictions, this can entertain at a deeper level than a lot of Major Studio B-Movies. In fact it is downright amazing how well it works its Magic through tone, style, and execution. This is not to be missed by Fans of Low-Budget Noir's.

I rated Fear (1946) 5/10. Pretty great B #noir. A lot of good visuals that are reminiscent of German films of the 20s and 30s. It's too bad it is a bit too trite and kind of like a zillion others to be amazing.

Poverty row Monogram Pictures produced Fear based on Dostoevsky's Crime And Punishment. We've seen better adaptions.

Medical student Peter Cookson is really up against it financially. Rent is overdue, he owes the college money. He goes to a professor who doubles on the side as a shylock. In a moment of anger he kills the professor.

The plot follows fairly closely the Dostoevsky story, but it has one big cop out of an ending. In addition leading man Peter Cookson gives a rather bland performance.

Police captain Warren William and dpgged detective Nestor Paiva do a lot better.

For a Monogram feature and Sam Katzman this is fine art.

Maltin's summary, and his star-and-a-half rating, for this quickie film noir fails to put it in the context of other, far more dismal Monogram productions. "Fear" has lots of interesting camera-pushes, nice use of close-ups, relatively interesting lighting, and a great nightmare montage. Plus, an expressive touch at the moment the key murder takes place (which I won't reveal) is just brilliant. Three things link this film to Fritz Lang's work--the marked coat (from "M") the dream-frame ("The Woman in the Window"), and perhaps most explicitly the palmreading of Larry's hand, revealing an "M", which stands for. . . . [supply your own dramatic music here]. Noir fans should seek this one one out for sure. Others may not be so impressed.

The programmer's a compelling noir except for the Production Code's required Hollywood ending. Up to that end point, however, the narrative amounts to a dark look into the ravages of psychological guilt. Larry's got a promising future as a med-student, but he also can't make tuition for his final school year. Dead broke, he's about to get tossed out of his fleabag apartment for non-payment. Desperate, Larry feels driven to murdering his pawn-brokering professor for the cash box riches he's hidden. Trouble is Larry's haunted by his crime, especially when fate delivers an unexpected publisher's check for an article he's written. Had he waited just one more day, he wouldn't have needed to murder for money. How cruel is fate and how relentless now are the cops.

Actor Cookson as Larry delivers an appropriately grim facade up to the end. To me, he, is an unknown performer, but subtly effective in the conflicted role. At the same time, there's something about him reminiscent of a sinister Tony Perkins. And how about the luscious Anne Gwynne. Her available presence makes his predicament that much worse. Then too, there's the magisterial Warren William as the head cop, taking a break from his ruthless pre-Code businessmen, e.g. Employee's Entrance (1933).

There're also some unsettling touches-- the onrushing train that crushes us all, the magic act that beheads without showing us recovery, the ominous black cat that awaits poor Larry. These are just some of the imaginative touches leading us to a bleak world where anything might happen.

Anyway, the programmer may be an atmospheric cheapo, but had the producers been able to complete the tale without the cop-out ending, it would also rise way above that meager status. So, when you see Larry cross the street at the near end, reach for the off-button. It's worth it.