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Both somewhat dull and weirdly fascinating, the flick starts with a long voiceover and lengthier flashback to explain how two army buddies, later roommates, (one incapacitated by PTSD, the other attending night school to better himself) get mixed up with a pair of twin sisters of opposite character (Bonita Granville). When one of them suddenly disappears, the investigation begins. Don Castle plays the straight upstanding veteran beside Wally Cassell's nervous wreck, and the two find ways to ward off a cloud of suspicion over their possible involvement in the disappearance. This is a rough-and-ready B movie but all the more authentic for that. Shot entirely in the gloom of night, it's dreary, rain-soaked and confined to about three locations - but the strange relationship between the ex-soldiers and the twins keeps one engaged, as does the whodunnit aspect, which turns out to be overly convoluted. A palpable sense of ennui, existential angst and cynicism runs through the film which, with some excellent use of shadow and light, elevate this low-budget Monogram movie into something very watchable. There's plenty to like here.

From 1947, "The Guilty" is a film noir starring Bonita Granville, Don Castle, Regis Toomey, John Litel, and Wally Cassell.

This is strictly poverty row, Monogram. Bonita Granville plays twins, Linda and Estelle. One is sweet and the other is a vamp. I had a hard time figuring out who was who.

Castle and Cassell play roommates Mike and Johnny. Johnny is the nervous type. When the sweet twin is killed, Johnny is sure he will be blamed and makes himself seem guilty by acting like such a wreck.

This movie is dry as a bone. Castle is one of those stereotypical B movie tough guys who talks out of one side of his mouth. Granville was always a good actress, but the twins' characters aren't well fleshed-out and I'm sure she had no time to work on differences between them. By the way, her husband, Jack Wrather, produced this, and if you're a baby boomer, you know that Bonita Granville Wrather produced the Lassie series.

Regis Toomey plays the detective, and he's pretty one note. He and Castle sounded like they were imitating hard-boiled detectives.

What bothered me is that we knew before we even saw Estelle and Linda that the two were identical twins. So Estelle keeping her back to Linda while she was talking to her in the beginning was a big waste of time.

When she walks out to face her sister, she does it in a grand way, like the audience should be surprised that she looks like Linda. The Castle narration mentions TWICE that they're lookalikes beforehand. Not very well done.

Army buddies Mike Carr and Johnny Dixon are roommates after the war. They get involved with twins Linda and Estelle Mitchell (Bonita Granville). When Linda dies, suspicion falls on Johnny who was dating her. Alex Tremholt is the fatherly longtime renter at the Mitchell home. Detective Heller investigates. In the present time, Mike is narrating the story while discussing it with a bartender.

This has classic noir construction. One twin is good and the other is bad. It's a B-movie. It's stripped down. The actors are functional. Bonita Granville is doing both twins. They could differentiate the twins a bit more. I wonder if they should put on a wig for one of them. It's not the best acting nor the worst. There is some big over-acting. It has overwrought noir style although the camera work is mostly perfunctory. The story has plenty of turns which functions well and I like the final twist which is meant to overturn the audience's expectations. The filmmaker is able to execute this classic twist by underplaying him. It's well done.

Don Castle is sharing a cheap room with his ex-lieutenant from the army, Wally Cassell. Castle is studying on the G. I. Bill. Cassell drinks a lot. Each is dating Bonita Granville, but it's all right, since she's twins in this movie. One is nice, the other is nasty. Then the nice one gets murdered, and detective Regis Toomey is on the case.

This being derived from a Cornell Woolrich story, it's surprising the guys aren't twins also; it would have saved on actors' salaries, although the process shots might have eaten up the difference. Miss Granville -- soon to become the wife of Jack Wrather, the producer of this movie -- is doubled by showing the back of another actress, or having her voice come from offscreen.

Of course, many odd possibilities arose in my mind. Did one sister kill the other, and then masquerade as the victim? What is John Litel doing in the cast? I started out confused, and even after the ending, I was still confused, because this was directed by John Reinhardt, who liked to throw in every film noir trope whether it should be there or not. Always watchable for the sake of Woolrich's sick symbolism, it's not one of the best noirs I've seen.

Decent noir that captures Cornell Woolrich's world of isolated, tortured men and the women over whom they obsess. Love the fact that it's all shot at night since nothing weakens this genre more than too much light, literally and otherwise. Congrats to cinematographer Henry Sharpe. And I must say I did not see the denouement coming until it was almost upon me, so congrats to scenarist Robert Presnell, as well.

Problems center around the rather languid pacing, for which director John Reinhardt must take the fall. Too much of the film, undoubtedly trying to communicate Woolrich's sense of moral deadness, itself feels half dead. And Don Castle, the "poor man's Clark Gable" who is actually more like Lee Bowman's kid brother, is, to put it mildly, not a skilled enough actor to enliven the somnolent proceedings. I will say, however, that Bonita Granville does a credible job of portraying a femme poised between fatale and decent. And Regis Toomey's somewhat smarmy cop is so good that I wish he'd been in the film more.

Bottom line: I've seen a lot worse noirs. Give it a B minus.