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Ace reporter Ed Adams (Alan Ladd) is at a skid row hotel on an assignment when a woman is found dead of natural causes in another room. Ed views the body and concludes that there is a story behind the death of this woman. Ed also pockets the woman's personal notebook of phone numbers. Her name had been Rosita Jean d'Ur (Donna Reed, seen in flashback) but anybody that Ed calls or sees to ask about Rosita, he is forcefully told by each that they never heard of her. What's up? Was she evil? Her brother (Arthur Kennedy) insists she wasn't. Was evil done to her? Ed needs to find. Getting thrown out of people's houses and beaten up by the local gangster's thugs only make him more determined. Also with June Havoc, Barry Kroeger, Shepherd Strudwick, and Dave Willock. The print I saw was pretty bad. The video probably came from a VHS recording off local TV. My first clue was when the logo for "KHGT TV 26 Honolulu" appeared for a few seconds in the lower right-hand corner of the screen. This is a little seen film but at the time was nominated for an Edgar Award as Best Motion Picture by the Mystery Writers Of America.

Reporter Alan Ladd stumbles across a strange woman, dead of tuberculosis in a seedy Southside hotel. Her address book, however, hints at a wild and well-connected past. (The girl, with the improbable moniker of Rosita Jean D'Ur, is played in flashback by the improbable Donna Reed.) Ladd's quest, as any noir quest should, takes him up and down the intricate layers of Chicago society, through some of which his tour guide is society dame June Havoc, who plays it with panache. This downfall of a good kid with some bad breaks begins to obsess Ladd, and Chicago Deadline (it's been remarked) could almost have been a grittier Laura set not in high society but on cusp where shabby respectability meets the demimonde. But the cunning Vera Caspary (who wrote the novel Laura) is alas nowhere in evidence, so Chicago Deadline becomes almost an object lesson in Edmund Wilson's dictum that the heavy atmospherics in detective fiction are rarely justified by the conclusion. Nonetheless, for most of its running time, Chicago Deadline is a dark and haunting ride.

Chicago Deadline finds reporter Alan Ladd uncovering the body of beautiful Donna Reed at a cheap boarding house in the Windy City. She's dead of natural causes, untreated tuberculosis which was quite common back in the day. Like Laura her beauty haunts Ladd, but what really intrigues him is her address book with one eclectic set of addresses and phone numbers. Something in his reporter's instinct tells him there's a story here and as he starts snooping, turns out there is one.

Reed was a beautiful woman used and abused by any number of people, high and low. The only one who genuinely seems to be mourning her passing is brother Arthur Kennedy. Helping Ladd along with background is society woman June Havoc.

The whole picture eventually does come together and it turns out Reed was into quite a few shady things. Naturally it all makes sense by the time the film is over.

Alan Ladd's greatest screen credit might be in Citizen Kane where he curiously enough has a bit role as a reporter. Chicago Deadline like Kane is a jigsaw puzzle where the bits of Donna Reed's character Rosita D'Ur is put together the way Charles Foster Kane's is.

Berry Kroeger who just does not play good guys on the screen is a malevolent gangster who is marvelously sinister as always. Another performance to note is Irene Hervey as Kroeger's moll who naturally resented Reed and anything about her.

Another good film for Alan Ladd in his Paramount salad days.

I have seen this excellent movie in 1951 in Barcelona/Spain when I was 20 and I liked it then and continue to like now very much, I considered it one of the greatest noir classic movies in history. Alan Ladd is fantastic in his role as a reporter; Donna Red is beautiful and had great performance in his playback roll, as Arthur Kennedy and the rest of the cast. is a pity that original seams lost. I have a copy of a VHS from a Honolulu TV, but it can be watched pretty well. the story is very well done by writers Warren Duff and Tiffany Thayer, and the development of the history very well done by director Lewis Allen. Alan Ladd one of my preferred actors is superb and I had said all the cast specially June Havoc, beautiful and charm-ant actress. the end of the movie remains on your mind as one of best ends of a movie in Hollywood history. I highly recommend for the be-lovers of noir classics.

When a reporter finds a beautiful girl dead of tuberculosis in a cheap hotel room, he pockets her little black book to learn more about her... but no one's talking, and the ones that try to have a nasty habit of getting killed. The basic detective story template in the Hammett vein with a touch of CITIZEN KANE and LAURA as Rosita's life is revealed through flashbacks. Alan Ladd is fun to watch, and there's some pretty good supporting parts. Donna Reed gets second billing, but she only appears in snippets for maybe about 10 minutes total. The film has good atmosphere and makes nice use of locations, but is so convoluted that it can be tough to follow. The lousy copy I watched didn't help. I'd like to see it again in a decent presentation. A solid and moody film but a little too confusing.

Shades of Laura here.

A reporter, Ed Ames (Alan Ladd), looking into the death of a young woman, finds her address book before the police do. He goes through it and tries to uncover information about her. Her name is Rosita.

Most people hang up on him or claim not to know Rosita. He does locate her brother (Arthur Kennedy) and a friend (June Havoc) and learns that Rosita was married and later widowed. Why are so many people afraid to admit they knew her? Why did she spend time living under another name? Intrigued and entranced by her photo, Ames keeps digging.

Good noir with a solid performance by the handsome Ladd, who always underplays and lends a great presence to a film. Reed is lovely, though she actually doesn't have much to do.

Dark, just like a noir should be.

Alan Ladd does a good job as a Chicago newspaper reporter in this mystery tale of a beautiful young girl in her twenties whom he finds dead. He takes her address book and puts it in his pocket and then reports her death to the police. He is determined to find out about her. And that leads to dangers, murders, and plenty of complications. Ladd one by one contacts the people she knew to try to piece together what is going on, nearly getting killed several times in the process, and others are killed as well to stop them talking. He identifies her and meets her very sympathetic brother, played by Arthur Kennedy, but he cannot tell the whole story. We see flashbacks as different people tell Ladd parts of the tale, and in those the girl is played by Donna Reed with her usual sympathetic face and quiet manner. This excellent film noir is little known but deserves attention. It is a good'un.

A reporter (Alan Ladd) discovers the body of a beautiful young girl (Donna Reed) in a cheap Chicago hotel, and in trying to retrace the events leading to her death becomes involved with the characters from her past life, all thanks to her diary ...

The host of names of men in the diary seem to be frightened by her death but claim never to have known her. Adams comes to know quite a lot, dangerously so.

Alan Ladd plays a fast talking reporter whose nose is sharp as his line delivery comebacks- he finds a diary of a dead woman and starts prying into her life, thanks to the names in her address book- Ranging from the rich to the crooked, the "names" are a bit nervous to talk about the dead lady.

It's a fast-paced, suspenseful noir mystery that doesn't lose focus and keeps you watching. Not much action, but the plot, the dialogue, and the characters are sharp . Ladd puts in a good performance.

Reporter Alan Ladd (Ed Adams) outrageously interferes with things when he steals an address book from the room in which Donna Reed (Rosita) is found dead. He retraces her life by contacting the people in this address book and a few people get bumped off along the way.

Unfortunately Donna Reed hasn't led a very interesting life so God knows why anyone would show any interest in pursuing her address book, especially as her death is not at all suspicious. Alan Ladd is obviously a weirdo.

A lot of time is spent on the telephone in this film. It's just blah blah blah on the blower! Still, the film is OK even if you can't follow the cast of thousands. Alan Ladd sums things up for you at the end with a synopsis of what has just happened. But he delivers it at breakneck speed so it doesn't really help. It's a vehicle for Alan Ladd and it's all a bit pointless.

I prefered ILLEGAL and CHICAGO DEADLINE from the same director Lewis Allen and also starring Alan Ladd, but all those Paramount Pictures film noirs are true crime noir features, no problem. Alan Ladd is a bit more wooden as usual, and Berry Kroeger is not Paul Stewart - APPOINTMENT WITH DANGER - either. The plot is also weaker than in the other two films which I mentioned just above. The story of investigation could have been grittier, tougher, but this movie remaiins worth watching if you have never seen it before. When Alan Ladd was still a big star, before his fall down. Donna Reed also brings much to this movie. Take advantage of it.