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Janis Carter boasted a largely undistinguished filmography from the 1940s but she deserved (as so many of her female peers from this era did) better parts and greater exposure. As the scheming and duplicitous Paula Craig, she personifies the cool blonde bombshell (while her line readings are a wee bit stilted, her body language is instinctive and sensational). She's the spider into whose web drifts Glenn Ford, an out-of-work mining engineer with a bit of an alcohol problem who's looking for a break. Meanwhile, Carter's on the lookout for her embezzling boyfriend's lookalike, to furnish a warm body to provide a charred corpse. This is James M. Cain territory, and, though we've been through it with Barbara Stanwyck and Fred McMurray and with Lana Turner and John Garfield, this effort by Carter and Ford deserves more prominence; its writing, direction and cinematography are all well above average. One unique moment: a banner head in the local newspaper lets us know that one of the characters has been charged with murder, but just below it, in the mock-up, is the smaller headline "Meteorite lands near baby." I think they made that movie, too, about 10 years later.

Ford was a natural for film noir, and "Framed" illustrates this. He is a more vulnerable character than we're used to seeing him play in his other films, and he seems to be easily duped by a beautiful blonde(Janis Carter).

Carter puts in a solid performance and should have been in more films of this type. She is perfect as the scheming and seductive Paula.

Barry Sullivan is a bad guy here, the co-schemer with Paula. While the plot is somewhat predictable, it does include enough surprises to make it a good film noir.

It puzzles me that Framed has apparently not been released on any format in video in either Region 1 or Region 2.

Perhaps Sony will produce a Volume 4 of Columbia film noir and include Framed.

What an opening! Mike's truck goes careening down a mountain road before pinballing through town. It's not only a riveting effect, but establishes Mike (Ford) as an honest workingman when he turns over his proceeds to the injured Jeff (Buchanan). Too bad he meets up with spider woman Paula (Carter) who spins a greedy web around the well- meaning patsy. As Paula, Carter is a powerful presence. She's got a way of acting that shows a lot of eyeball that's kind of scary. Actually, I think she's too strong, making her switch to the laid-back Mike not very believable. Their chemistry never really gels the way Paula's does with Steve (Sullivan). Unfortunately, that's a lack that undercuts the script's central twist.

Still, it's a solid noir thanks to the classic elements of the screenplay. Ford makes an interesting low-key fall guy. Not too many mining engineers turn up in noir, which I guess accounts for his occasional spiffy suits that look more like uptown Manhattan than temporary truck driver. Still, he's basically the classic working stiff looking for a job. Too bad he sees Paula's well-turned ankle first. Anyway, director Wallace films in journeyman style, except for that one inspired moment after the crash when Paula does a sharp gasping intake. It's a brief cameo shot whose only purpose is to connect Paula's sexuality with violence. For 1947, that's daring and Carter brings it off memorably. I guess it just goes to show how less can imply so much more in the imagination—a lesson contemporary film seems to have forgotten.

The movie may not be front rank noir, but it does have its moments.

I can't think of a movie in which he lost out, anyway.

Here he is a drifter who falls in with a treacherous woman. Initially, he offered work by her romantic interest, the king of film noir, Barry Sullivan. Someone once asked what movie star I felt I identified with most and it was Sullivan. The guy never gave a bad performance.

His girl here is played by Janis Carter. Her biography says that she was a hit in musicals on Broadway. I can see that. She has a boyishly cute look. (Ann Savage is hard to imagine in a musical. But look at Constance Towers, so fine in two Samuel Fuller movies and a Broadway darling.) Carter plays one evil woman! Wow, I would keep my distance from her! She's a waitress at a place called La Paloma when Ford meets her by she has high ambitions.

Edgar Buchanan is exceptionally touching as the miner who's willing to give engineer Ford a job. We can see he's kind of a loser but he is a very decent guy.

This is a tough little film. I recommend it highly.

Mining engineer Glenn Ford (Mike) trucks into town and is befriended by barmaid Janis Carter (Paula). She's a bit too friendly isn't she? The clue to this film is in the title.

You know Janis Carter is up to something from early on. Always be suspicious of people who are too friendly. Carter is plotting with bank vice-president Barry Sullivan (Steve) and they are looking for a scapegoat. There are twists along the way and Glenn Ford is a sympathetic character to identify with as he begins to suspect and unravel what has been happening. Who gets all that money? Someone starts the film with nothing….and ends the film with nothing.

Glenn Ford plays a stranger who drifts into town one day. However, he soon finds himself in a tiny bit of trouble and a beautiful lady (Janis Carter) comes to his rescue. However, this is NOT a kind lady but a femme fatale with an evil plan. Her and her married lover (Barry Sullivan) plan on murdering him in order to cover up some embezzlement. However, two huge monkey wrenches are tossed in--Carter's character is evil more evil than you might expect and Ford's is not nearly as stupid as she hoped. While the plot is decent (not great), the film is ultra-stylish, smoking hot and full of femme fatale badness--exactly what I like in a film! Not quite as hot and exciting as Ford's later film, "Gilda" but still quite good. It makes you wonder why Carter never really took off as an actress--she was exquisitely nasty and hot.

Glenn Ford is Mike Lambert in "Framed," a 1947 noir also starring Janis Carter, Barry Sullivan, and Edgar Buchanan.

Ford plays a man who takes a job driving a truck that ends up having no brakes. Once at his destination, he enters a bar/restaurant called La Paloma and comes to the attention of waitress Paula Lambert (Carter) - and vice versa.

Turns out she's been waiting for someone like Ford to come along. Well, hasn't every woman? Paula and her boyfriend, Steven Price, need someone to be identified as Price in a car accident/explosion so that she and Price can take off with the $250,000 Price has embezzled from his bank. Unfortunately for them, they're pretty sophomoric, and Mike gets suspicious.

I can't share the deep thrill others have expressed about this film, though I love Glenn Ford's combination of gentleness, toughness, and sexiness. He had really just hit big stardom around the time of this film.

As beautiful, slender and accomplished a Broadway performer as Janis Carter was, I thought her acting was - well, awful is the only word for it. This is a Lizabeth Scott/Ann Sheridan type of role - smoky, mysterious, ambiguous as to motive.

Carter had none of these shadings, offering instead wooden line delivery with nothing going on underneath. A better actress would have made this a much stronger film.

The plot (to me anyway) was very predictable, in part due to the casting. As for the denouement, there was no explanation as to how it all came together, i.e., there were holes.

Ford and Edgar Buchanan, who plays a miner hoping to get a loan from Barry Sullivan's bank, are very good in their roles. Sullivan is fine, but he has a non-showy part.

A stronger female lead and a little more developed script at the end would have helped "Framed" immensely.

Like in so many noirs, the most enjoyable ingredient of this film is the excellent dialog. It keeps you spellbound by its wit and suggestive innuendos all the way, everyone is clever and an interesting character, even the most idiosyncretic Edgar Buchanan as Jeff Cunningham, although they are all rather basic and normal - except Janis Carter, who is the leader of the film, very suavely leading you on in her very incalculable mind to some extreme surprises she didn't even expect herself. Glenn Ford made thjs before "Gilda" but it's the same character, - he always made the same character. Here he is more vulnerable and actually gets more than enough drunk twice, which makes him such a suitable puppet to use for an extremely criminal plot. It's a classic noir, the story will not disappoint you, and the final looks of Glenn Ford and Janis Carter will endure and follow you beyond the film.

Framed (AKA: Paula) is directed by Richard Wallace and adapted to screenplay by Ben Maddow from a story written by Jack Patrick. It stars Glenn Ford, Janis Carter, Barry Sullivan and Edgar Buchanan. Music is by Marlin Skiles and cinematography by Burnett Guffey.

Mike Lambert (Ford), down on his luck and fed up of getting nowhere in life, meets sultry waitress Paula Craig (Carter) and things will either get better or worse?

There's a road sign in this that grabs the attention, it reads DANGEROUS CURVES! Now that initially is in reference to a perilous road - with roads featuring prominently as dangerous parts of the play - but it quite easily could be, and in all probability is, a sneaky reference to Janis Carter's femme fatale. Paula Craig in Carter's hands dominates the film, not that Ford or Sullivan are pointless fodder, but it is both the actress and her character's show.

After a burst of pacey excitement opens the pic, action moves on to a cafe, from where we are introduced to Guffey's talents, from this point on almost everything is atmospherically shot. Slats and shads, lamps and cell bars, all get the Guffey lens treatment that's sitting superbly with the unfolding psychological dynamics. Very early on we are delivered two characters who basically are a cheater and a viper, while the main man of our story is a guy who struggling with his identity in life. He also likes a drink, but with that comes memory loss, which is never a good thing when you are holed up in a noirville town.

Stripping it back for examination you find the story is very simple, which is surprising and a little disappointing given the screenplay writer also did The Asphalt Jungle. Yet the characters and the actors performances, helped by some classy tech work, more than compensates - that is until the finale, which for some (me for sure) is a bad choice for character tone. But it's not a film killer, for we get everything from orgasmic glee shown in the process of a callous crime being committed, to characters either in need of a soul or facing their days of judgement. 7/10

Columbia churned out countless so-called film noirs in the late forties like this. They were the equivalent to old tv police shows. Professional yes, entertaining yes but no more memorable as episode 239 of The Streets of San Francisco.

Whereas THE BIG SLEEP, the ultimate film noir is so crazily complex you're really not too sure what's going on , this is the opposite. The story is incredibly simple, the characters are shallow stereotypes but worst of all, you know exactly what's going to happen after the first ten minutes. You will however stick with it just to check you're right - which you will be. Ben Maddow gave us the screenplay for the fantastic ASPHALT JUNGLE so it's shocking that he also wrote this. That however was directed by the great John Huston whereas this wasn't.

You might very well want something familiar and predictable where you don't need to engage your brain. If you do then this will be ok for you. Glen Ford does Glen Ford, Janis Carter does her femme fetale thing again (more believable than in NIGHT EDITOR) and people drive around in cool old cars looking shifty.

This little film, made by Columbia Studios, is very enjoyable!! All about a woman who is greedy and wants to get hold of a quarter of a million dollars and plans to rob a bank with the bank president himself, but then something goes awry and well........ you will just have to watch this great B-movie to find out the rest, but I assure you that it is a film that is very good!! Nice work by Glenn Ford and Janis Carter. This film is a bit like "Double Indemnity", only with a twist ending, and a lower budget. Oh, to have this released on DVD--I would be so happy. I just love these old black and white film noir type films from the 1940's and 1950's.

Well cast, with a reasonable original story, this Columbia B picture needed a better budget and screenplay. Several plot developments are signalled way before they occur, with some scenes being slackly directed. Nice performances help save some shortcomings with Janice Carter being a convincing femme fatale, and beautiful (it's a pity Columbia and RKO didn't utilize her more selectively)

Glen Ford is fine as the down on his luck stranger in town (who foolishly drinks too much) with nice support from Edger Buchannan and Barry Sullivan. As a little noir pic - it manages to hold attention for most of the duration. Award winning Cinematographer Burnett Guffey (From Here To Eternity '53) is probably the films best asset.

The Re-mastered Bluray disc is nice and clear but a little darkish, so, if you can get a descent DVD copy might be better.

I like Glenn Ford and he does a good act for whatever role he is assigned. Here he plays a guy just trying to get a break which really means a job and he runs into this story. Interesting to note the scene where there is a courtroom procedure and how inadequate justice was and how it was dispensed. It helps you to realize how we got to where we are today as people in court rooms know not what they do and the powers that be don't care either. The plot involves money, love, betrayal and hope all the emotional traits humans suffer from and need. The problem is that all the wrong stuff is too available while the better opportunities take time, patience and some discernment. The ending is satisfying and one can relate to it no problem. You never know what to expect with film noir but you always get atmosphere, intrigue and down to earth surprises. Recommend a snack and a tasty drink to compliment the viewing

Its a modest film without sparkling dialogue or striking cinematography but with a decent enough story and pace to be entertaining enough. Indeed from the opening scenes with Glenn Ford struggling with a runaway truck to the very end this barely pauses for breath with something new at every corner. The alternative title, Paula, whilst not great is probably better than Framed for with this latter title I rather found myself anticipating the action. Janis Carter is better in some scenes than others but overall carries the role of the classic femme fatale well enough whilst Ford is immaculate, so suave and relaxed, indeed this is probably a walk in the park compared to the previous years Gilda.

FRAMED", Columbia, 1947, 82 min. This the one in which a slightly scruffy Glen Ford (just after "'Gilda", which made him a highly bankable Star) plays a mining engineer down on his luck, drifts into town, gets busted for a brakeless truck driving accident for which he gets thirty days in the local hoosegow, but is bailed out by a mysterious blonde (Janis Carter) for no apparent reason other than that she seems to have eyes for him. If he knew what she really had in mind for him he would have taken the ten days, gladly! As the plot thickens the incredibly alluring Carter really racks poor lovesick Glen over the coals setting him up for an insurance scam where he will be "accidentally killed" in a car crash so she and her real boyfriend (Barry Sullivan) can collect on the policy and scram. Glen barely survives and Janis gets her just deserts but her performance is so subtly-shaded with both hidden menace and obvious allure, and she is just so all-around fantastic in "Framed", that I couldn't help thinking that, all kidding aside, this must have been the Best Performance by an Actress for all of 1947 - - the year that Loretta Young actually got it for "The Farmer's Daughter".

Janis Carter steals this film; she is the femme fatale who is responsible for much of the mayhem that takes place in the movie. Glen Ford (Superman's dad) does a fine job as the pigeon that is set up by everyone in the town except the newspaper boy. Barry Sullivan plays his role with the usual suave faire that he was capable of in several of his other roles. The film has excellent atmosphere and dialogue, and suffer from only one silly occurrence, which I will not mention, as it would be a spoiler. But a high school kid would know better than to commit this mistake. Other than that, the film is very watchable, and better than most other films from this genre. Recommended.

The honest mining engineer Mike Lambert (Glenn Ford) accepts to drive a truck to arrive in a small town to look for a job. The truck has no brakes and Mike is forced to drive dangerously on the road. On the arrival, he is forced to hit a pickup truck to stop the truck, and the foreman refuses to pay the repair of the pickup fender to the owner. However, Mike gives the money he earned to pay the man. Then he goes to the cheap La Paloma bar, where he meets the gorgeous waitress Paula Craig (Janis Carter). When the police officers come to arrest Mike for reckless direction, she bails him out the prison. Mike is disappointed for receiving money from a waitress and drinks a lot. Paula takes him completely drunken in the bar to a hotel, pays for a room and leaves money for his breakfast on the next morning. What Mike does not know is that Paula and her lover Steve Price (Barry Sullivan), who is the VP of the local bank, have planned to kill Mike, who has the same physical characteristics of Steve, in a car accident and take 250 thousand dollars that he has embezzled and put inside Paula's safety deposit box in the bank.

"Framed" is a great film-noir with Glenn Ford, Janis Carter and Barry Sullivan in the lead roles. The story of an amoral woman that manipulates men with her beauty is awesome with a great conclusion. The cast have top-notch performances, with Barry Sullivan performing a cynical male gold digger. The film has also good dialogs and no sex scenes certainly because of the notorious Hays Code. My vote is eight.

Title (Brazil): "Paula"

You would have to had come down in the last shower not to be immediately suspicious when a dame you've only just met forks out for your legal fines and hotel fees. Our hero however falls for this curly girlie in this passable film noir that has more twists and curves (of another kind) than a mountain road. A gradual build-up of romantic intrigue , however, would have made it more plausible. And why wasn't Glenn Ford properly fitted out for the part - he's supposed to be a mining engineer, not a city businessman- a leather jacket and open-neck shirt would have been more appropriate than a suit and tie and incongruous hat. Good to see old reliable Edgar Buchanan as the miner. They must have been great mates as they doubled up again in Ford's Cade's County TV series in later years. And there was Gene Roth, the heavy in many Three Stooges shorts as one of the arresting cops in the final scenes.

Glenn Ford, young and brittle, plays an unemployed, hard-drinking mining engineer saved from ten days in the hoosegow by a blonde waitress with evil in her eyes; turns out she and her partner need a fall guy once they swindle the local banker. Crosses and double-crosses in a mostly predictable vein, though just about saved by excellent directorial touches and intriguing noir detail (the wrench in the backseat, the poisoned cup of coffee). Ford isn't really convincing playing drunk and reckless--and it doesn't sit well with us having him cast as the possible dupe--yet he cuts a solid presence on the screen and the picture would be nothing without him. ** from ****