Behind Green Lights

A police-procedural mystery that's about halfway to film noir but comes up short, Behind Green Lights takes place entirely during a single night in a midwestern city (stockyards are mentioned; Kansas City? Chicago?). A car rolls up to the green globes of a police station, holding the murdered body of a private investigator who dabbled in blackmail. Asked in for questioning is Carole Landis, daughter of a mayoral candidate, who had been in the extortionist's apartment earlier that evening. Though other suspects emerge, the ink-stained wretches on the police beat smell a scoop: If Landis is convicted in the press, it will swing the election that's just a few days off.

Its view of the press as partisan, corrupt and unprincipled is the most unusual aspect of Behind Green Lights. It assumes (in this case rightly) that the newspapers have mercenary minions stowed throughout the city government. The medical officer (Don Beddoe) clearly takes his orders not from night-shift boss William Gargan but from a sleazy tabloid's editor-in-chief (Roy Roberts). On his instructions, he substitutes victim's body for a John Doe's after he discovers that the murder weapon was poisoned Bourbon, not the gunshot that would implicate Landis. (This switching around of corpses introduces an antic element of slapstick from which the movie never quite recovers.)

But the pervasive corruption of big-town politics remains oddly matter-of-fact, never developed into an indictment or accepted as a grim given of mid-twentieth-century American life; it's just a plot point. (The movie also has to work around the central presence of the charisma-free Gargan, while John Ireland is wasted as his assistant.) It wraps up neatly, leaving little atmosphere behind (Mabel Paige as a flower vendor stays the most memorable character). Still, it has a brisk pace and professional look - both indoor and outdoor scenes have a dark, noirish shine, thanks to director of photography Joe MacDonald, who would go on to light many worthy noirs - and leaves one wishing that it had been just a little bit longer and a little bit better.

William Gargan is police lieutenant Sam Carson. He admits he would like to be chief but he's not about to compromise his principles. He makes that fact pretty clear to tabloid magnate Max Calvert (Roy Roberts), who is looking to stir up the approaching election by pushing a murder story possibly involving a politician's daughter.

Carole Landis is dignified and tight-lipped as Janet Bradley, that daughter. Yes, she visited the victim, a sleazy private detective, earlier that evening. No, she does not care to explain her business with him.

Besides these main characters, a shady police doctor (Don Beddoe) sneaks information to reporters and generally delights in scandal. Mabel Paige has a key role as a flower lady who just wants her six bits. John Ireland is quite convincing in a too small role as a police detective. A roomful of news reporters crack wise and rush to their phones, a la The Front Page.

A couple of nice plot twists, especially one involving an escapee from his jail cell, keep the viewing interesting. Gargan and Landis are strong as the leads—a couple of realists holding out for a breakthrough that may or may not come.

Well done—a very entertaining if modest production.

A dead body is dumped outside a police station one night. This leads to a mystery involving a femme fatale and corruption.

This was an entertaining mystery in my book. While it was set almost totally in two locations - the police station and the flat where the murder took place - it has a fairly polished feel and holds the interest throughout. The mystery is involving enough and there are some moments of noirish atmosphere and style towards the end. There were some elements of humour introduced which, while not being strictly necessary, weren't too distracting either. Behind Green Lights isn't a poverty row effort, it was made by one of the big studios so that may account for it's relatively impressive overall presentation. It's hardly a film that breaks the mould but it's a fairly effective little mystery that is worth watching if you like these kinds of flicks.

The version i watched on "Moonlight Movies" channel was a TERRIBLE editing job... all chopped to hell. Directed by Otto Brower, who only directed one more after this, and that one was uncredited! A private eye is murdered, and dumped on the steps of the police station. and of course, the mayor's daughter (or something) is involved. Carole Landis is "Janet", who admits to being at the scene, but says she didn't kill him. William Gargan is the police lieutenant, as usual. All kinds of shenanigans, and corruption, since there is an upcoming election. Both sides are trying to influence the election results by altering the facts, and they keep saying it's bad news for "the administration"... without naming anyone specific. It's very okay. a 64 minute short from 20th Century Fox. John Ireland is in here as "Oppenheimer"... this was almost the first role he had in hollywood. he went on to be a real bigshot. Mabel Paige (Flossie the Flowergirl) has a part.. she was in silents from 1912 -- 1918, disappeared for twenty years, then came back and acted in talkies for another 15 years ! That story would be more interesting than this film. (and what are the green lights in the title ?? this is a black and white film)

It's the graveyard shift, with night commander William Gargan holding down the fort. A car rolls up right in front of the station. Someone opens the car and a corpse falls out. It's Bernard Nedell with a bullet hole in him. He was a P.I. and blackmailer by trade, and one of the suspects is Carole Landis, whose father is up for election, so there's pressure to put her behind bars. Soon the case becomes ever more tangled....

It's an okay little flick, directed for speed by Otto Brower. Brower bounced between directing B pictures -- his westerns are lively affairs -- and being an assistant director on some pretty classy As, one of the highly competent craftsmen who never got the breaks, but was obviously known in the industry for his good work. Writer Scott Darling ekes out the short running time with eccentric characters: the guy who breaks out of jail so he can wrestle at an Elks smoker, the reporter who wears his grandfather's buffalo-skin coat, a kid whose head is trapped in a goldfish bowl (his mother wants it removed without breaking it), Mabel Paige as the flower seller who wants her $1.75 from the corpse, and iold-timer Tom Moore and J. Farrell MacDonald.

It's more a procedural that film noir, barring some eccentrically lit shots on an apartment stairs, and there are no early clues; everything breaks at once, with the motive revealed after the audience can figure out whodunnit. However, it's an example of the lively B movie that Fox could still turn out on a short budget, given the superfluity of talent available.