Piège double

I laughed and laughed as I watched this. I confess I like the storyline, but that's where it ends. How reviewers are rating this a minimum of 6 out of 10 is beyond me.

If you're a fan of cold war films from the mid-1950s that reference World War II propaganda, then this film will delight. It doesn't take long into the running time to figure out some plot devices I won't reveal. If you watch it through all the way, just remember the dialogue, "Two men and a girl."

This is some weird crap. It's a great plunge into why television devoured filmgoing when Lucille Ball was trying to figure out how to make her husband more successful than she.

Holy cow. Completely ridiculous, unbelievable crime (not noir) drama that would put Ed Wood and Harry Stephen Keeler to shame.

The movie is acted and directed OK, and it's oddly watchable, but the plot is laughable. It's quite simply, ludicrous.

This is just a bit too convoluted for it's own good. It's all about a scheme to retrieve some gold from Germany buried at the end of WWII by Richard Denning ("Frank"). Frank Lovejoy ("Stan") and his gal Mari Blanchard ("Joanie") are the pair trying to manoeuvre their mark into taking them back to find the loot, but they also they have an ulterior motive of which poor old "Frank" is unaware. It's got a few twists and turns to keep the plot moving, but much of the story seems to exist in order to perpetuate itself, rather than offer us anything to get our teeth into and after a while it becomes a bit dull. The performances are weak, the dialogue really wordy and I found the music got on my nerves a bit, too. Director Nathan Juran usually had a good eye for a story and phototography at his best; this isn't it.

This noir film is unusual in that its biggest surprises occur in the first half of the movie. The user reviews that consist mostly of recounting the plot thus spoil the effect of seeing it for the first time. If you think you'd like to watch it, I recommend avoiding them.

It's usually best to save surprises for the end of a story, but given the film's plot it would have been difficult.

Without giving away too much, Frank Lovejoy plays an LA drive-in restaurant owner and compulsive gambler who gets inveigled into a plot to recover Nazi loot hidden during WW II.

The second half of the film is straight adventure and suspense, much of the latter coming from trying to guess who is or isn't in on what seems to be a rather large conspiracy for a relatively small goal.

Co-stars Mari Blanchard and Richard Denning are enjoyable in juicier parts than Lovejoy's. An enjoyable watch even if a tad implausible in spots.

Drive-in restaurant owner Stan Fabian and his car-hop girlfriend Joanie (Frank Lovejoy and Mari Blanchard) become involved in a scheme to recover the proceeds of an armed heist when Joanie's brother (Richard Denning) unexpectedly arrives in town. Her brother offers Stan half of his share of a robbery he pulled off while in the Army in WWII if Stan will travel back to Germany with him to help retrieve the buried gold. Complications and a few surprising turn of events arise along the way.

This low budget crime drama starts off promisingly enough but quickly fizzles out under the strained believably of the plot and characters. It was directed by Nathan Juran with a decidedly disinterested feel. Juran was a director who was capable of doing some decent low budget pictures like Gunsmoke and Highway Dragnet. Juran just didn't breath much life into this one. All of the principals struggle with their character identities. The script has Lovejoy who was at his best as a tough guy with a hard edge, walking around through most of the movie in an impatiently perplexed way, seemingly oblivious to what most people would consider obvious. His role seems to pivot around implausible reactions to Denning's character for the sole purpose of making it possible to move on to the next scene. Blanchard's character lacks believe-ability. It makes it hard to understand why even the perennially perplexed Lovejoy would be willing to risk so much for a character with such head-scratchingly odd reactions and shifting motivations. The script moves from one contrived situation stacked upon another contrived situation in order to reach the end.

The Crooked Web has recently been released on Film Noir DVD packages. It's part of the current marketing ploy of repackaging black and white 1950's crime dramas and labeling them as Film Noir. While it does have a noir influence, it's a garden variety, double feature, crime B-flick. Anybody looking for the next undiscovered gem in the mold of "Double Indemnity" or "Out of the Past" should keep on looking because this isn't it.

Both Juran and the cast had better days then what we see here. Other than some early on interesting exterior shots of 1950's L.A. there isn't a lot to recommend in this one.