Coincée

Ginger Rogers gives one of her best performances here, as a tough gangster's "moll" turned state witness. Her gutsy, strong and sexy performance carries the conventional plot. Robinson and Keith are fine, but they don't have much to do except get dazzled by Ginger - and who wouldn't be. It is a little hard to believe that Keith, at 34, would fall for Ginger, at 44, but that's all part of the illusion of glamourous Hollywood. Ginger looks great, but she does look her age.

The main problem here is the inadequate adaptation from a stage play - the action is too confined in the one room, and there is too much dialogue. But this is worth catching for the original Ginger Spice in full fireworks' mode.

Talky adaptation of Leonard Kantor's play "Dead Pigeon" stars Ginger Rogers as a wisecracking jailbird sprung from the pokey by police so she can testify against ruthless mobster at a high-profile murder trial. Somewhat confined, claustrophobic piece really needs Ginger's overacting to kick it into gear, and she's more than adept at chewing the scenery. The star, looking great in a short, ducktail bob, manages to create sparks playing opposite everyone in the picture except for Brian Keith as troubled cop Vince Striker (they just don't click). Drably filmed, mostly underwhelming, but Ginger's fans might want to take a look. ** from ****

Tight Spot is directed by Phil Karlson and adapted to screenplay by William Bowers from the play "Dead Pigeon" written by Leonard Kantor. It stars Ginger Rogers, Edward G. Robinson, Brian Keith, Lorne Green and Eve McVeagh. Music is by George Duning and cinematography by Burnett Guffey.

Sherry Conley (Rogers) is offered a way out of her prison term if she agrees to testify as a witness in the trial of mobster Benjamin Costain (Green). Holed up in a hotel room under police protection, Sherry starts to form a close relationship with Lt. Vince Striker (Keith). Just as Costain's hit-men start to close in...

Is it noir or not? That's a question that has cropped up quite a bit since Columbia released it as part of their Film Noir Classics III Collection. The presence of Karlson (Kansas City Confidential), Guffey (In A Lonely Place), Bowers (The Mob) and Robinson (Scarlet Street) certainly gives it strong noir credentials on the makers front. What transpires is more crime melodrama than noir, but Tight Spot does feature noir traits. From Guffey's shadows and half lights photography, to the characterisations portrayed by Rogers and Keith, there's enough here to keep the noir faithful replenished.

Rogers' performance (casting) has also been much cause for debate, which is understandable as it is a role that could quite easily have been given to better femme fatale actresses of the time. Yet although she takes some getting used to, and that hair cut is just bizarre, Rogers does a nice line in sharp tongued sass, even putting some sexy sizzle in to the bargain during a slow dance sequence with Keith. She does fine work, a bit over theatrical maybe? But she nestles in nicely alongside the strong turns from Keith, Green and Robinson to lift an average story to better heights.

Much of the film is set within the confines of one hotel room, which is both a blessing and a curse. At times it works in the film's favour because Karlson is able to wring out some claustrophobia, a real sense of impending threat is evident at times. However, at other times the picture feels just too stage bound, stripping away some of the realistic atmosphere the makers strive for. There's also a problem of tonal shifts as comedy sticks its oar in at regular intervals, including a frequent visit to a hillbilly television show that serves no purpose other than to annoy Keith's increasingly agitated detective.

A mixed bag without doubt, and at the half way point some may be wondering what they have let themselves in for? But the cast and makers come through in credit once the second half arrives. Because then we get action, twists and a grand finale. 7/10

Ginger Rogers' performance (straight out of "Roxie Hart") makes this film. Others have found Ms. Rogers to be too old for the film. I think that the fact that she is a bit "past her prime" adds to her character, which has (let's face it) been "around the block" a few times. She and Brian Keith (doing his patented tough-as-nails copper) make a potent team. It is a pity that they did no more work together. The film itself is a strange mixture of Rogers' comic sass and Karlson's brand of hard-hitting melodrama. Ultimately, the film is sunk by an unbelievable plot contrivance that leaves the audience feeling betrayed. However, the performances (including, of course, Robinson's) make this a worthwhile experience.

As a big fan of Ginger Rogers', I think this film, although late in her career, is rather good. Of course with Edgar G. Robinson as the district attorney, there's no way this could be bad. The opening prison laundry scenes are more than a little hard to believe (after all, when was the last time you were in prison with perfectly manicured nails). Over all, drama and comedy nicely balanced.