No Questions Asked

No need to repeat the plot, which is a good, unpredictable one. This MGM noir is better than most of the studio's compromised crime dramas of the Dore Schary period. Director Kress keeps things moving, while scripter Sidney Sheldon manages a few neat twists, along with a stunningly gorgeous Arlene Dahl who's enough to make any man lose his head, plus the always soulful Jean Hagen. It's certainly a very watchable 80 minutes; however, I am wondering why it's not more memorable than I think it is. Kress has a good sense of pacing, but what the movie lacks is at least one, strongly memorable scene. In my book two come close. The stickup in the ladies room is really novel. The violent threat of "women" on women presents a genuine departure from convention and real possibilities for something memorable. It is a good scene, but ultimately nothing more than an unusual robbery sequence. The other promising episode is the showdown in the pool, a neat payoff for an earlier underwater scene with gangster Franko (Petrie). However, despite what looks like a lethal encounter, the aftermath turns into just one more conventional close call.

In a more general sense, the movie does contain a number of violent scenes. Yet all are staged rather impersonally, thereby eliminating one of the hallmarks of front-rank noir— that is, the "reality of violence" as one acute observer termed it. Anthony Mann's noirs (e.g. T-Men {1947}; Border Incident {1949}) are especially effective in making the audience not just see the violence, but more importantly, in making us feel its reality in a visceral way. Also important is the reality of evil (non-theological), whether it's corruption (e.g. Phenix City Story {1955}) or brutality (e.g. The Enforcer {1951}). The presence of evil is usually, I think, a matter of atmospherics and acting. Unfortunately, not only is there no sense of evil in the film, there's hardly even a sense of wrong-doing, especially from the rather genial chief gangster Franko who should be the main source. Now, Kress does a good workman- like job filming an imaginative script that keeps us interested and entertained. But ultimately he doesn't manage that extra dimension of making us feel a part of what's happening. As a result, the movie fails to rise above the level of respectable noir, yet that's certainly more than enough for a slow evening.

Barry Sullivan retrieves stolen goods for a fee in "No Questions Asked," a 1951 B noir also starring George Murphy, Arlene Dahl and Jean Hagen. Sullivan is Steve Kiever, an attorney for an insurance company. He's impossibly in love with the beautiful, gold-digging Ellen (Dahl), who dumps him early on by getting married and forgetting to mention it. After recovering stolen furs for the insurance company and making extra money, he goes into business for himself. Soon there's a city-wide crime wave, with the thieves collecting good money on the stolen goods without being caught trying to sell the stuff and with no one learning their names. The police, led by George Murphpy, are furious with him. Kiever becomes wealthy and has gone back to an old girlfriend from his office, Joan (Hagen) when he sees Ellen again. The old hunger returns - though, as Hagen is aware, it had never left.

This is a pretty good film, very noirish with his sleazy locations and nighttime drama. There are some good scenes, though I have to admit that I saw through the gimmick used for the robbery and couldn't figure out why no one else who was robbed did. Two future TV stars, Richard Anderson and William Reynolds, have roles in the film, as well as old-timers like Murphy and Moroni Olsen.

Enjoyable.

And God spoke: I need two people, of all my creations, who will be perfect for the leads in what I will call Film Noir. That's how Barry Sullivan and Jean Hagen were created. This film is indeed classic, even typical film noir, with the one big difference: It's quite original plot, which twists and turns like a mountain road. Director Harold Kress lays the story out in a crisp and uninsulting manner, expecting us to pick up subtleties and clues without obvious explanations. I suppose if I have to find issue, I'd say the picture seems to be slightly over edited, coming across at times like a long montage. All in all, really good movie, and, if you are a film noir nut, maybe even great. Dahl always gives the added obvious bonus of being stunning.

Yes indeed, some terrific lines here, especially by Jean Hagen. She is the jewel of this passable noir. Watch for the scene where she shows up at Sullivan's apartment and the interaction with Arlene Dahl. Priceless and somewhat unexpected given the film's age. Some other good stuff as well, again considering the film's age. Like the holdup by two men disguised as women. Otherwise the main premise of the lawyer who acts as go-between criminals and insurance companies is a bit thin. The acting is fine if not exceptional. Barry Sullivan is convincing as the lawyer out for a fast buck to impress gold digging Arlene Dahl whose presence is enough as usual. But it's Jean Hagen who shines and makes this worth watching, at least for her scenes.

An insurance claims adjuster (Barry Sullivan) finds he can make a lot more money if he deals with the crooks who are robbing and stealing valuable jewelry and furs. The insurance company that he works for is actually abetting crime in order to retrieve the stolen goods and minimize their losses, thus upsetting the police who would prefer to not reward the crooks who are now even more motivated to pull off daring heists, as they now are guaranteed hefty payments for the stolen goods. This film has some interesting elements and a couple of memorable scenes, a couple of which take place in a swimming pool and one in which the assembled wealthy patrons at an opening night theater debut are robbed while they're all in the powder room between acts. At the root of Sullivan's actions is the woman who dumped him, played by Arlene Dahl. She usually plays sympathetic parts, but here her character has a solid place on the memorable list of film noir bad girls. For a film directed by someone known for editing, this is surprisingly good, with a tough ending.