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In a way, it's easy to see why Lucille Ball did not achieve mega movie stardom. By the time she was getting decent roles, she was in her thirties, and back in those days, that was getting long in the tooth. Though she was beautiful, she had the delivery of a character woman -- great comic timing and dry wit. I suspect Hollywood wasn't sure what to do with her -- too pretty for the Eve Arden roles, and not ingenue enough for the leading lady ones.

In "Lured," Ball plays Sandra Carpenter, an American dancer living in London whose good friend and fellow dancer disappears after answering a personal ad. The police, led by Inspector Temple (Charles Coburn) have been frustrated by a series of poems they have been receiving before a murder of a young woman takes place. They feel helpless. When it turns out that Sandra's friend is a victim of the mad poet, the Harley asks Sandra to act as bait and answer suspect ads. They will be watching her at all times.

Sandra has some strange adventures -- one with a whack job (Boris Karloff) who wants to paint her in costume, and then she is invited to a concert where her date does not show up. There, she meets wealthy Robert Fleming (George Sanders) who sweeps her off her feet. Could he be the killer? Could it be the strange doctor she meets? There are a few suspects.

Well directed by Douglas Sirk, known later for his big glossy soap opera type films, "Lured" has suspense and atmosphere, though it moves from a mystery to a love story mid-script. However, the performances are very good - Lucy looks stunning in her gowns and she plays the down to earth, savvy young woman very well; George Sanders is smooth as silk, and the two have good chemistry. Sir Cedric Hardwicke gives a standout performance, and Coburn is excellent. "Alfred the Butler" from the Batman series, Alan Napier, is also in the film, as is George Zucco.

Recommended. Very enjoyable. Just wish the emphasis had been more on the mystery.

This excellent noir film was somewhat copied forty years later as "Sea of Love," with several changes bringing it up-to-date. One surprise in store for viewers is the comic talents of George Zucco, obviously kept hidden throughout most of his brilliant acting career. He is an excellent comedic sparring partner for Lucille Ball. They work well as a team, providing laughs that are sorely needed in an otherwise serious murder mystery thriller. Boris Karloff adds to the fun as well, giving a monster performance as an insane dress designer--can you believe? The stellar lineup also includes the likes of George Sanders, Charles Coburn, Cedric Hardwicke, and Alan Mowbray. The cast alone is worth the price of admission.

Directed with savvy by Douglas Sirk, the film has a script put together by a hodgepodge of writers. Still, the dialog is filled with witty and intelligent lines. The mystery will keep the viewer guessing until the serial killer is revealed. There are red herrings along the way to lead the best sleuth astray. Even when the movie seems to be ending with the mystery solved, it becomes the wrong solution to the case under investigation. The film proceeds to fool the viewer a second time before the ultimate meanie is apprehended. There are thrills aplenty throughout this delicious cinematic whodunit.

The story involves a serial killer running amok in London who kills beautiful young women lured by newspaper ads. The madman fancies himself a poet copying his style from the dark poetry of Charles Baudelaire, who once wrote about a tempting woman being more beautiful in death. One such poem is sent to Scotland Yard before each murder. Inspector Harley Temple (Coburn) is determined to catch the psycho any way possible, even using a young woman, Sandra Carpenter (Ball), as a decoy to lure the monster out into the open. Sandra is chosen when she inquires about her good friend's disappearance. Coincidentally, her friend's moniker is Lucy. In the process of finding the perpetrator of the crimes, Sandra makes several interesting encounters, eventually meeting a stranger named Robert Fleming (Sanders) with whom she falls in love. Their favorite song becomes "All For Love," which serves as a clue in the mystery.

An interesting curio for Lucille Ball fans as well as those who enjoy old horror and mystery films. This one is worth seeing for its cast alone, featuring (in addition to Ms. Ball): Boris Karloff, Sir Cecric Hardwicke, Alan Napier, George Zucco and George Sanders! This solid mystery/thriller stars Lucille Ball in a dramatic part before she became Lucy Ricardo. She plays a feisty American gal in England who is hired by Scotland Yard to go undercover to trap a serial killer who claimed one of her friends. Boris Karloff's role is a small one but it's absolutely wonderful, and it's an essential watch for the actors' legion of fans. George Zucco is a cop who keeps an eye out for Ball to make sure she doesn't get into too much trouble. *** out of ****

The show closed after four days in London. Stranded Lucille Ball is working as a taxi dancer, hoping something will turn up. She's envious when the girl next to her tells her it's her last day; her tall, dark and handsome man is taking her away from all of this. The next day the newspapers announce it: she's the latest victim claimed by the Poet Killer, a serial killer who likes to send the police Baudelaire-inspired notes. Miss Ball goes to talk to Inspector Charles Coburn, who promptly hires her as bait.

Hunt Stromberg pulled out all the stops on his production: director Dirk Sirk, cameraman William Daniels, script credited to Leo Rosten, and a cast that includes George Sanders, Boris Karloff, Cedric Hardwicke, Alan Mowbray, Robert Coote... well, it was primed for success.

Mostly it's pretty good, with Miss Ball giving a varied and layered performance, and Sanders at his most charming. There are some issues with the show. As soon as he showed up on screen, I tagged the murderer. Miss Ball's engagement by the police as a decoy has too many details handwaved away, and she never gives the impression she feels herself at risk. That's what spike heels are for.

Still, the studio-bound movie shows its glitter on the screen, and in a theater in the dark, it should look like a fine couple of hours.

As an user has pointed out,"lured" is the remake of Robert Siodmak's movie "Pièges" (1939) starring Marie Dea (Lucille Ball's part),Maurice Chevalier (Sanders' part) ,Erich Von Stroheim (Karloff's) and Pierre Renoir (Cedric Hardwicke's) Both versions are good.If ,like me,you've seen Siodmak's version first ,you'll probably find Sirk's work less interesting and vice versa . The differences between the treatments are minimal.

-George Sanders is a better choice than Maurice Chevalier ,cause we do believe he might be a serial killer,which is difficult with the French chanteur.

-On the other hand the scene featuring Boris Karloff is weaker than its French equivalent where Stroheim was more disturbing.

-In both movies,the weakest link is the part of the story where the heroine is a servant in a shady house.

Director Douglas Sirk, later best-known for sappy Hollywood melodramas, makes this early Lucille Ball vehicle about a killer that writes poetry to the police about the victim he is going to kill. Ball plays a dance hall girl that loses a friend and decides to help by joining the Scotland Yard force. She begins to answer personal ads by men looking for attractive young women. Along the way she comes in contact with a slaving-like operation and a bizarre eccentric fashion designer played with incredible gusto by Boris Karloff. Karloff has roughly 5 minutes of screen time, but boy does he know how to use it. This is a very enjoyable film. If you are looking for a lot of action - look somewhere else. What you get here is a lot of talk and character studies. The cast is one of the most complete I have seen in some time. George Sanders, Cedric Hardwicke, Charles Coburn, Robert Coote, Alan Napier, George Zucco and Alan Mowbray round out this incredibly talented cast. Zucco really stands out as a plain-clothes policeman. Ball is beautiful, and she does a very credible job in the lead. Sometimes I forget that she was a gorgeous woman with a lot of talent other than making you laugh. But that was certainly her greatest gift. Lured is a good, old-fashioned mystery yarn. The killer is painfully obvious about halfway through, but the actors go through the motions with obvious relish. Unfortunately the DVD release I had by KINO had nothing on it all all in terms of extras...didn't even separate chapters from main feature!

Another noir film starring of all people Lucille Ball. A serial killer is on the loose in England who uses the personals column to lure his victims. Ball, who is an ex-pat in Blighty working as a dancehall companion, has a friend who goes missing so while giving her account to the local constabulary, the chief investigator strikes upon an idea to have Ball go undercover to see if the killer can be caught. Directed by the future king of the 50's melodramas Douglas Sirk, he manages to make a light noir feel fun & engaging w/o the prerequisite baggage which usually comes w/this sort of material. Aiding Ball admirably are the supporting cast of actors which includes George Sanders, Charles Coburn, Cedric Hardwicke & a scene stealer from Frankenstein himself, Boris Karloff.

I was 'lured' into this one by its cast - Lucille Ball in a dramatic role, opposite George Sanders, and with Charles Coburn and Boris Karloff in supporting roles. I wasn't disappointed. It's a nice mystery/drama where a serial killer in London finds his victims through personal ads, and then boasts about it to the police with poetry reminiscent of Charles Baudelaire. Ball plays an American working in a dancehall who begins working undercover for the police when one of her friends becomes a victim. That bit is a little contrived, but I liked her pluckiness and how she stands up to a variety of creepy male behavior (in the dancehall, various ogling, and with some of the men she meets via the personal ads). There are some standard tropes - Ball's extraordinary powers of observation, Coburn being the distinguished sleuth who engages in a cat and mouse game with the criminal, etc - but the script is intelligent and has some interesting turns. Just don't go into it with the expectation that it's film noir, and enjoy the performances.

For those of you who only know Ms. Ball as the "dizzy redhead" in the 50's sitcoms, you're in for a TREAT!

Before making the above, she was in many films -- Marx Brothers, The "Annabel" series, and this great film.

Backed by a solid cast (Zucco, Sanders, Karloff, Napier, Coburn), she acts as the "bait" to lure a London killer out of hiding.

Even tho (at least to ME) it was obvious who the killer is, it is fascinating watching her in a non-comedy role! And, she certainly was lovely!

If you get a chance to see this, DO SO! You won't be disappointed! It's a shame that she didn't make more films in this genre.

Great, atmospheric tale of a struggling chorus girl (Lucille Ball)who is used as bait by London police to catch a serial killer who preys on women through newspaper personal advertisements.

Douglas Sirk is the Director of the Moment due to the release of the superb Far from Heaven -a remake of Sirk's All That Heaven Allows- and his films are now being rented and talked about as if they never existed. This film is a beautiful showcase for the almost larger-than-life characters, incredibly detailed sets, and use of lighting that would become trademarks for his later films.

Lucille Ball makes a great 'dame' and her dramatic abilities were sensational. Boris Karloff takes his one scene and plays it to the creepy hilt while George Sanders was a rather cool and sexy guy before he sealed his film fate as Addison DeWitt in All About Eve.

Lured maybe hard to find in most video stores but give it a chance if you come across it.

A killer lures lonely young women via the "personals" column in a London newspaper. A friend of one of the victims, an attractive dancer named Sandra Carpenter (Lucille Ball), acts as bait to catch the killer, under direction of Police Inspector Temple (Charles Coburn). One of the suspects is Robert Fleming (George Sanders) who may, or may not, be the killer. Fleming, suave and sophisticated, charms Carpenter into romantic complications.

The whodunit element of "Lured" gets off to a strong start, with good direction, some spooky lighting at the beginning, and an assortment of interesting suspects. But, as the film progresses, the whodunit element gets undercut by the developing romance between Carpenter and Fleming. The upbeat "All For Love" musical score, combined with elegant costumes, reinforce the romantic theme. The whodunit element sputters out about two-thirds through the film.

My impression is that the screenplay for this film was adapted from "Pieges", a 1939 French film (which I have not seen), billed as a romantic thriller. In "Lured", we certainly have a romantic theme; thrills maybe, depending on how you define "thrills". You get the feeling that the film's director (Douglas Sirk) started with the intention of making a whodunit, but later changed his mind and decided to make a romantic melodrama. The film's split personality may also be the result of the casting of two strong lead actors (Ball and Sanders), whom we do not usually associate with murder mysteries.

"Lured" certainly has entertainment value. I love Lucy no matter what role she plays. Coburn and Sanders are nearly always engaging. The film has good B&W cinematography. The dialogue is crisp. And the film provides some great nostalgia, via 1940's clothes, hairstyles, and music. Overall, "Lured" has a great cast and some wonderful atmosphere. But, when I want to watch a murder mystery from the 30's or 40's, I will be more inclined to watch a film whose sole aim is to present a whodunit puzzle, such as, for example, a good old fashion Charlie Chan film with Sidney Toler ... romance be damned.

Lured (AKA: Personal Column) is directed by Douglas Sirk and collectively written by Leo Rosten, Jacques Companéez, Simon Gantillon and Ernst Neubach. It stars Lucille Ball, George Sanders, Charles Coburn, Cedric Hardwicke, Joseph Calleia and Boris Karloff. Music is by Michel Michelet and cinematography by William H. Daniels.

A serial killer in London is murdering young women whom he meets through the personal columns section of the newspaper. Taunting the police with cryptic poems, the killer is proving most illusive, so much so that when a friend of dancer Sandra Carpenter (Ball) disappears, the police enlist her to act as bait to lure the killer in.

There's a lot to like about Lured, on proviso you have your expectation level correctly set as to what sort of film it is. It's a very uneven movie in tone, which when one sees that there were four writing contributors involved in bringing it to the screen, perhaps comes as no surprise. A remake of Robert Siodmak's 1939 film Pièges (set in Paris), it is never sure if it wants to be a comedy mystery or a dark brooding thriller. A shame because in spite of it being a set bound production, Sirk and Daniels create a sinister visual mood when the story lurks around the constructed London sets.

The cast are ever watchable, though you can see Ball struggling to rein in her natural comedic bent during the more dramatic sequences, but she leads off from the front and looks positively lovely and radiant. Karloff fans get a fun extended cameo, with the great Uncle Boris playing up to a caricature of unstable characters he could do in his sleep, Sanders is suitably stand-offish, Coburn ebullient, while Hardwicke and Calleia add a touch of class to the support ranks.

Michelet's musical score is in keeping with the mixed tonal flow of the picture, in fact sometimes sounding like it should be in a screwball movie from decades previously, but with competent professionalism coming elsewhere from Sirk, Daniels and the lead cast members, it's an enjoyable movie. Even if it's all a bit too jolly and nonchalant for its own good at times. 6.5/10

Early directorial effort from Douglas Sirk offers an offbeat role for Lucille Ball, ably playing an American dancer in London who is enlisted by Scotland Yard to catch a poem-writing serial killer who preys on showgirls. Leo Rosten's screenplay (culled from perhaps various treatments by Jacques Companéez, Simon Gantillon, and Ernest Neuville) is loosely-hinged at best, thin at worst. A sequence with Boris Karloff as a delusional designer goes on far too long, as does a tiresome thread with Ball working as a maid for a possible pervert. Entertaining on a minor level, especially for Lucy-addicts (her dryly comic exasperation is very funny, as is her rapport with the inspectors on the case). George Sanders is ideally cast as a wealthy nightclub owner who takes a shine to our heroine--and who wouldn't? Ball may be photographed in black-and-white, but she exudes both sophisticated glamor and attractive street-smarts. She's a peach. **1/2 from ****

Lucille Ball looks really quite glamorous at times in this well cast mystery that is distinctly devoid of, well, actual crime.... She is drafted in by Scotland Yard to assist them in their investigation of eight girls who have gone missing over recent years; the latter being her friend. The one thing these mysteries may have in common is that each girl was written a poem before they went off the radar, and each may have responded to a lonely-hearts type ad in the newspaper. So "Sandra" is tasked with responding to each of these ads with a view to ensnaring our would be kidnapper/murderer (George Zucco is great as her police minder throughout this exercise). This is probably the most enjoyable phase of the film, as she encounters a few of life's more curious folks - not least a wonderful, brief, cameo from Boris Karloff - before she alights on the debonaire George Sanders (or does he alight on her?) and his business partner Sir Cedric Hardwicke. The former certainly fits the bill - he makes his romantic intentions clear from the outset, and when certain seemingly conclusive clues start to appear then Charles Coburn ("Insp. Temple") concludes they have their man...but do they? The story is nothing new here, but the cast work well and though hardly menacing, the drama does build well to a cleverly played out endgame. Ball is very far removed from the characterisations she became much more familiar for, and acquits herself well in good company with her co-stars, a decent script and this is well worth a watch.

Great Film Noir, Well acted by all, One of the best 1940's crime movies, George Sanders and Lucille Ball have perfect chemistry, The movie will keep you guessing until the end. This "rediscovered" classic from 1947 has one of Lucille Ball's best dramatic roles of her career. A Jack-the-Ripper-like serial killer is looking for and murdering beautiful young women, and Lucille Ball's characters friend is the killer's latest victim. Wanting desperately to help the police find the brutal murderer, she is hired by Scotland Yard to become a decoy for the killer, who lures his victims through newspaper advertisements. Lots of plot twists keep movie exciting to the end.