A Life at Stake

That early scene at poolside with Andes in a tacky suit and Lansbury in a revealing swimsuit is a fine slice of fateful seduction. The movie's remainder may not rise to that level, but it has its moments. Andes, an unemployed architect, is inveigled into an insurance scheme by an unlikely couple-- an aging Dumbrille and his young sexy wife, Lansbury. The narrative unfolds in none to clear fashion, but at least we know someone's trying to kill Andes, probably for the insurance payoff. It's almost certain Lansbury's a part of it, yet the actress's performance doesn't suggest moments of deception, unlike Stanwyck's tour-de-force in Double Indemnity (1944). Then too, a spotty script doesn't help. As a result the climactic scene lacks the emotional force it should have.

In fact, the script, as others point out, contains a number of gaps—like Andes apparently walking away from a cliffside car plunge! Then too, director Guifoyle lacks any noticeable style that might lift the visuals. Had the production been done, say, 5-years earlier, I expect a 70-minute noir would have emerged. After all, the elements are there—a spider woman, a wobbly fall-guy, a fateful scheme. All in all, the potential is there, but muddy execution undercuts the result. (In passing, at least, worthy movie vet Jane Darwell picks up a payday in a tacked-on role. Thanks be to someone in production.)

First throw in a character who is rather dull and afraid. Make him an architect who can produce nice little fifties houses that will sell. Hook him up with a millionaire who wants a 175,000 dollar life insurance policy on the guy's head in case he can't fulfill his commitment. Throw in a bored wife; or is she? Throw in police who have no respect for a dignified man who is concerned he is going to be killed. Remember, it happened before and insurance money was involved. Oh, yes, then there's the insurance company, which should be watching things like the respective hawks they are, since they got soaked the first time. Also, have everyone act stupidly, not able to figure things out. This is one contrived thriller. I'm not sure where Lansbury is in the picture. The guy should have dumped her early on. She is vapid and tiresome. She's reasonably attractive, but has more baggage than Northwest Airlines. Oh, well, it isn't Shakespeare and it does keep us guessing, sort of.

A struggling architect named Edward Shaw (Keith Andes) gets involved with a rich woman named Doris Hillman (Angela Lansbury) who is in real estate. As their business relationship deepens, Shaw is urged to take out a big life insurance policy. Soon after, he encounters some dangerous "accidents".

A LIFE AT STAKE is a very engaging crime thriller. It's also a wonderful vehicle for Ms. Lansbury to show off her wicked side. Those only familiar with her TV work should watch this!...

Yes, once, Angela Lansbury was young with a good figure (which I think she still has) and a sexy way about her.

In 1955's "A Life at Stake" she plays Doris Hillman, a woman who propositions a down-and-out architect, Edward Shaw (Keith Andes) with a business plan where she will buy property and he will put up houses. He had done this previously but he was bilked out of $37,000, (327,700 in today's money) some of which had been put up by friends. In the end he lost everything.

The flirtatious and seductive Hillman says that her husband (Douglas Dumbrille) will put up the money but that Shaw will have to buy keyman insurance for $250,000, which is $2.2 million today. This is business insurance that compensates for financial losses that would arise from the death or incapacity of an important member of a company.

Well it isn't hard to figure out what's going on, and it doesn't take Shaw that long either, even though he and Hillman fall for one another and begin sneaking around. He dodges several cars and a car where the brakes slip -- trying to stay alive is difficult around these people, but the police want proof. On top of this, he has met Hillman's sister (Claudia Barrett) and she's fallen for him.

Pretty good noir. I noticed on the reviews that many people aren't familiar with Keith Andes. He had a small but decent film career, in films such as The Farmer's Daughter, Clash by Night, Tora Tora Tora, and And Justice for All, as examples. He starred on TV in a series, This Man Dawson, and was in dozens of prime time shows up until 1980.

Most notably, he appeared on Broadway with Lucille Ball in Wildcat - he had a beautiful baritone voice; he also did Kiss Me, Kate on Broadway and toured in Man of La Mancha. At the age of 85, beset by health issues, he committed suicide.

Definitely worth seeing for young Angela and Keith Andes was certainly a hunk - he had his shirt off a lot of the time.

It's no secret that many judge Keith Andes (by the criteria of ethical-emotional normativeness and acting prowess) to be the best actor of the past century. Because of studio politics and poor judgment--the presentation of merely pretty faces who looked good on posters as "stars"--he only played leads in fewer than 10 films; this is a very interesting one I suggest, for several reasons. Andes has been rediscovered by critics and film fans more often than Atlantis; with the exception of 2 "I Spy" episodes where they deliberately denied him the camera to set him up for a defection and future elimination, every part he ever played, by my evaluation, deserved a nomination for best actor at some length of film. Here he plays the interesting part of an architect in a B/W noir thriller. He gradually comes to believe he is going to be killed by his partners once he signs an insurance contract, ostensibly to protect their financial investment in his ability (that alone makes a new project of profitable building possible); and he is fascinating at every moment and professionally superb in a film that give him little to work with; he makes a charismatic triumph out of an underwritten cipher. Opposite him, Douglass Dumbrille is powerful as always as his backer's jealous husband, and Angle Lansbury is attractive bu no match for Andes as a siren who tempts and perhaps threatens him a the same time. As her sister, the interesting young Claudia Barrett does quite well. The serviceable direction by Paul Guilfoyle is taut, the script above average for a "B" B/W film of ant era. This is the sort of film which has seldom been made--a good piece of inexpensive storytelling carried by competent actors. But the focus is on Andes as he goes from boredom in a lonely room to temptation by Lansbury to the gradual realization that he is perhaps being set up for elimination. The violent climax is both surprising, satisfying and visually exciting; and the ending leaves viewers equally satisfied that Andes' character will receive justice, and that he has someone who genuinely cares for him. An underrated thriller that I can unreservedly recommend; I obtained it to see Andes. But this is a good story well told on screen, a true rarity when it was made, and especially in the years of badly acted and special-effects-dominated childish film-making that have been practiced since its mid-1950's release.