Les Filles du service secret

Raymond Greenleaf is the governor of a generic state. He wants to run for senator, but he has a secret. He's an escaped criminal, and a campaign of that order will reveal it. So machine fixer Raymond Burr applies pressure and gets a girl in the FBI's fingerprint file to remove his card. Burr arranges for everyone else down the line to wind up dead.

The FBI won't stand for its own personnel being killed. They get a line on the original name on the file and assign agents Cesar Romero and George Brent to the case.

There are some fine actors in this, including Audrey Totter in a good-girl role (alas, she's far more interesting in her evil roles in noirs). Other well-known players include Joi Lansing, Byron Foulger, Marie Blake (grandma in THE ADDAMS FAMILY) and O. Z. Whitehead. Under-rated B cinematographer Jack Greenhalgh gets a fine night-time river pursuit, and William Berke directs the film with a nice arc of excitement.

The Lippert organization was not known for producing great movies. They had a chain of theaters, and with the slowdown in post-war B production, they used their connections to set up a releasing organization, including some Korda films, and began their own production with talent fallen on hard times. Although none of their approximately 150 movies, most produced between 1948 and the mid-1950s, can be considered great films, they showcased interesting talent. This is one of their best.

A Kefauver type racketeering Senate investigating committee is taking itself on the road for local hearings and that is of great concern to Governor Raymond Greenleaf. It seems as though way back in his youth and under a different name he committed a murder and if the committee uncovers any wrong doing he could be charged with its more than a stretch in Club Fed. That's because when he would be arrested and printed his prints would be on file with the Federal Bureau of Investigation.

Of course the state racketeering boss Raymond Burr has a lot invested in Greenleaf and he's not about to see his investment get flushed down the toilet. He hatches a scheme to get the fingerprint card out of J. Edgar Hoover's closely guarded files. It involves getting to one of the clerks in the Justice Department, Margia Dean through her brother, Don Garner. And when that doesn't work Burr tries to use another clerk Audrey Totter who is our FBI Girl.

I have to say that with that title alone I was expecting some paranoid Cold War story. So I was pleasantly surprised when FBI Girl turned out to be a nice noir thriller. It came from the Poverty Row studio of Lippert Productions, but not bad considering the source.

Caesar Romero and George Brent play the two agents on this case and Romero provides the narration for the film. The two agents are all business and the plot follows a straight line narrative to the source of their problems. Greenleaf may have been governor, but Burr is calling all the shots and his rackets have a big investment in keeping their see no evil, hear no evil, speak no evil governor in office. And he's being talked about for even higher office. And as the state boss Burr outshines everyone in the cast.

Try to catch this one when broadcast and don't be put off by the title, it's better than you think.

Could this be it? The Holy Grail, the zenith of film noir mediocrity, the quintessential 'B' movie? F. B. I. Girl is no ordinary quickie/cheapie, but comes packed with a gallimaufry of bonus features: Stilted, wooden acting, unintentionally amusing dialogue, two investigators (Romero and Brent) who are about as charismatic as a wet week-end in Widnes and a thoroughly muddled plot, involving the stealing of incriminating fingerprint records.

Ambitious, but corrupt governor, Raymond Greenleaf, in collusion with his ruthless P. R. man, Raymond Burr, decide that the best way to beat a murder rap is....er... to commit more murders. Burr, a character who exudes all the charm of a fox ravaged bin bag, orchestrates the proceedings. His first patsy is Margia Dean. She may hold a responsible position with the F. B. I., but will she be prepared to FIB?

The growing body count produces a priceless sequence. Disguised as a priest, gravel voiced hood, Alexander Pope gains easy access to the merely critically wounded, hospitalized Don Garner, hoping to add a few finishing touches to the job, but events take a wildly unexpected turn, with uproarious results.

Despite having little going for it, F. B. I. Girl works surprisingly well on another level. It never descends to the depths of the gut-wrenchingly, mind numbingly abysmal. Moreover, from its mock military opening score the movie continues along a consistently entertaining, ham-fisted plateau, even raising the temperature by a few degrees for the relatively tense, fast moving finale. All involved appear to be tinkering with the dynamics, the nuts and bolts of the genre, creating, whether by design or not, a finished work, which conveys an air of affectionate parody. Taken in this context, F. B. I. Girl ticks all the boxes and emerges as a must-see vehicle.

This all but lost docu-noir was released By Poverty Row Lippert Productions, shot in just twelve days and directed by William Berke.... This gets better and better! Watch at your earliest opportunity and neatly avert years of regret.

CODA: Startling stat. In 1951 six million Americans had police records. There must be a message (in a bottle) for all of us.

A politician needs to tamper with FBI files to advance his career so uses his fixer, a menacing Burr, to influence the girls working there to do his dirty work; these plans go awry and turn deadly. Our stalwart agents Romero and Brent try to figure out what's going on as another FBI girl (Totter) gets roped in. The plot becomes knotty and hazy at times and there are a few coincidences thrown in but we are treated to quite a number of memorable and unusual scenes as well as an action-packed finale that must have blown this B-movie's budget. An entertaining ride with the players taking the roles quite seriously despite the clunky plot mechanics. 6.5/10.

For a Lippert Production, this sports a cast of A-picture performers. George Brent and Cesar Romero are FBI men. Audrey Totter, still at her prime and looking lovely, helps the Bureau out. Raymond Burr is a villain. Tom Drake plays a good guy. And hey! It even has Joi Landsing!

The plot is only slightly more than routine: A weak governor has a criminal past. His fingerprints could reveal that. So Burr sets out to switch those fingerprints around. At any cost.

As a sidelight, this movie features three actors who are now known to have been gay: Burr was not open about it. Romero took few pains to keep it quiet. Drake, Judy Garland's "boy next-door" -- I don't know. Not much is known about his life other than that proclivity.

This coincidence has no effect on the film, which is surprisingly good for something that was obviously made on the cheap. But it's a footnote to the sociological history of Hollywood.