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IMDbPro

Il veleno del peccato

Titolo originale: Night Editor
  • 1946
  • BA
  • 1h 8min
VALUTAZIONE IMDb
6,7/10
1170
LA TUA VALUTAZIONE
Janis Carter and William Gargan in Il veleno del peccato (1946)
CrimineDrammaFilm noir

Aggiungi una trama nella tua linguaA detective's dilemma. A murder investigation is compromised by the detective's compromised position in love.A detective's dilemma. A murder investigation is compromised by the detective's compromised position in love.A detective's dilemma. A murder investigation is compromised by the detective's compromised position in love.

  • Regia
    • Henry Levin
  • Sceneggiatura
    • Scott Littleton
    • Harold Jacob Smith
    • Hal Burdick
  • Star
    • William Gargan
    • Janis Carter
    • Jeff Donnell
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,7/10
    1170
    LA TUA VALUTAZIONE
    • Regia
      • Henry Levin
    • Sceneggiatura
      • Scott Littleton
      • Harold Jacob Smith
      • Hal Burdick
    • Star
      • William Gargan
      • Janis Carter
      • Jeff Donnell
    • 32Recensioni degli utenti
    • 12Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
  • Foto46

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    + 40
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    Interpreti principali40

    Modifica
    William Gargan
    William Gargan
    • Police Lt. Tony Cochrane
    Janis Carter
    Janis Carter
    • Jill Merrill
    Jeff Donnell
    Jeff Donnell
    • Martha Cochrane
    Coulter Irwin
    • Johnny
    Charles D. Brown
    • Crane Stewart
    Paul E. Burns
    Paul E. Burns
    • Police Lt. Ole Strom
    Harry Shannon
    Harry Shannon
    • Police Capt. Lawrence
    Frank Wilcox
    Frank Wilcox
    • Douglas Loring
    Robert Kellard
    Robert Kellard
    • Doc Cochrane
    • (as Robert Stevens)
    Johnny Calkins
    Johnny Calkins
    • Boy
    • (non citato nei titoli originali)
    Anthony Caruso
    Anthony Caruso
    • Tusco
    • (non citato nei titoli originali)
    Eddy Chandler
    Eddy Chandler
    • Dickstein
    • (non citato nei titoli originali)
    Michael Chapin
    Michael Chapin
    • Doc Cochrane as a Boy
    • (non citato nei titoli originali)
    Frank Dae
    Frank Dae
    • Butler
    • (non citato nei titoli originali)
    Jack Davis
    • District Attorney Bill Halloran
    • (non citato nei titoli originali)
    Vernon Dent
    Vernon Dent
    • Fat Man in Library
    • (non citato nei titoli originali)
    Jack Frack
    • Reporter
    • (non citato nei titoli originali)
    Roy Gordon
    Roy Gordon
    • Benjamin Merrill
    • (non citato nei titoli originali)
    • Regia
      • Henry Levin
    • Sceneggiatura
      • Scott Littleton
      • Harold Jacob Smith
      • Hal Burdick
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti32

    6,71.1K
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    Recensioni in evidenza

    7hitchcockthelegend

    You are worse than blood poisoning!

    Night Editor is directed by Henry Levin and adapted to screenplay by Hal Smith from the radio program of the same name - by Hal Burdick - and the short story, Inside Story, written by Scott Littleton. It stars William Gargan, Janis Carter, Jeff Donnell, Coulter Irwin and Charles D. Brown. Cinematography is by Burnett Guffey and Philip Tannura, and music is credited to Mischa Bakaleinikoff, though it's believed that Mario Castelnuovo-Tedesco did the work.

    "You are just no good for me. We both add up to zero"

    A raging "B" pic out of Columbia? Absolutely! This is something of a film noir lovers delight. There is no getting away from the fact it has one of those endings that has proved to be divisive, so how it stacks up for first time viewers now may make or break your opinion of it...

    Story finds copper Tony Cochrane (Gargan) having a love affair with viper like Jill Merrill (Carter), this in spite of the fact he has a gorgeous loving wife and a son who worships him. During one of the illicit couple's love trysts they witness a violent murder, and fearing scandal Cochrane fails to uphold the law. From such decisions does life often spiral out of control...

    Okies. So we got hot and sweaty scenes, flashbacks, wet streets lit by lamps, alleyways, barely lighted rooms - particularly the station offices - symbolic and metaphorical sequences (oh my those crashing waves), but it's the barbed dialogue, the blend of sex and violence, and a femme fatale of considerable greatness, that ultimately makes this soar.

    Personally I hate the ending, but as stated before, I do know noir lovers who find it cheeky and enjoyable. Yet even with my irritation at the finale - and of Carter's hair style (which pushes Phyllis Dietrichson for most unflattering look), there's just so much good here for noir lovers not to enjoy greatly. 7.5/10
    9robert-temple-1

    Noir in B

    This is a superb film noir B picture. It stars William Gargan as a cop, and the sizzling dish Janis Carter as the femme fatale. And what a femme and how fatale! She is really something. What a pity she did not achieve the status in films which she clearly deserved. Here she plays a hyper-glamorous psychotic man-eater. Poor, bumbling homicide detective Gargan is no match for her. He succumbs, and succumbs, and succumbs. Well, one evening things get complicated. One has to remember that he is happily married to sweetie Martha, played with big loving eyes and a warm smile by 'Jeff' Donnell (she was born Jean Marie but was always called by the nickname of Jeff; see her also as Sylvia Nicolai in IN A LONELY PLACE, 1950), and adores his son. But there he is sitting in a car in a lover's retreat off the road, with Miss Glamour-puss, doing his usual succumbing, when another car pulls up and does not see them. The man proceeds to bash in the skull of the girl and then runs off, but not before they see his face very clearly in the headlights. It later transpires that Janis knows the man very well, but she says nothing at the time. Gargan starts to give chase but then realizes that he dare not do so because his involvement with Janis will come to light and his wife might leave him. So he endures an enforced silence and is then a member of the homicide team which investigates that very crime. A wrong man is accused and is about to 'get the chair'. Tension mounts. Should he do the right thing and stop the execution, at the risk of his career and his marriage? He wants to, but Janis is going crazier and crazier. She is so nuts that she makes statements like: 'I don't know why I do these things' as she tries to stab a man to death. Just the kind of girlfriend one wants! She is a rich socialite and highly sophisticated, thus intimidating the humble Gargan further. As he bitterly says to her at one point: 'You and I both add up to zero.' Every time he tries to leave her, she kisses him, which all goes to show just how dangerous kissing can be. After they have seen the murder, Janis gets a wild look in her eye and, in the midst of a seizure of psychotic excitement, says she wants to go and look at the girl's bashed-in skull and all the brains spattered all over the car because it excites her, and Gargan restrains her only with great difficulty. Janis really is very convincing in all of these scenes, and it is all pretty hair-raising. And so the story progresses. I must not reveal the ending. The next year, Janis went on to scare people further in FRAMED (1947).
    7david-546

    The Ice lady cometh

    The nifty little B Noir is part of the Bad Girls of Film Noir series. The picture is really worth seeing just to see Janis Carter in action. Her frenetic desire to see the body after this guy had just bludgeoned this girl to death was a scene to remember. But she was really the ice lady that giveth and Janis Carter just kept on giving with her icy grip on the the cop and her ability to out maneuver just about everyone.

    I had never seen Janis Carter in a B Noir movie but if this is what she is capable of then some of her others might be worth looking for. The words just one more kiss really take on true meaning with Janis Carter. But watch out for that ice pick.
    6blanche-2

    nice noir

    William Gargan and Janis Carter star in "Night Editor," a 1946 B noir.

    On a newspaper night shift, the people in the newsroom are told the story of Tony Cochrane, a police officer. This was the first in a planned series of night editor stories, which never happened.

    Tony was a married man cheating on his wife (Jeff Donnell) with a married socialite, Jill Merrill (Janis Carter). One night, they're parking down by the beach, and they see a man beat a woman and run away. They both see his face clearly. Tony could have apprehended the man, and perhaps even stopped the murder (though it seemed to have happened very quickly) but he was afraid of being found out and losing his wife, son, and his job.

    When the murder is reported, Tony has to investigate, not letting on that he was a witness. By now he's broken things off with Jill. He's surprised to see her name on a list of the dead woman's friends. He confronts her, because he suspects she recognized the man, but she won't tell him the man's identity. Things go from bad to worse.

    This was pretty good and effective, with a nice ending. Gargan by then wasn't anyone's idea of a leading man, but was a good playing a cop. Gargan had a laryngectomy in 1960, after which he devoted his time to the American Cancer Society and used a voice box.

    Janis Carter is a glamorous femme fatale here and plays a woman devoid of any conscience or compassion. In fact, when she learns the dead woman's face had been bashed in, she wants to see it. The idea is, she's married to an older rich man and likes slumming.

    I wasn't expecting much from this two-noir disc from Netflix, but I would up liking both of them.
    dougdoepke

    Pushing the '40's Envelope

    Catch that big crashing wave as spider woman Jill (Carter) reaches her own kind of climax. There's nothing like viewing a mangled dead body to get some spider women off, and Jill's some kind of cold-hearted 40's temptress. Too bad cop Cochrane (Gargan) doesn't run for the hills or maybe even his loving wife after viewing this little perverse episode. Instead, he covers up the murder he and Jill just eye-balled. After all, neither wives nor city fathers reward philandering husbands. So how is Cochrane going to clear his conscience once an innocent man is about to get fried for a murder the two illicit lovers know he didn't commit.

    My guess is Night Editor was hoping to repeat the success of the noirish Whistler series, also adapted from radio. It didn't happen, but not because of a failure in this 60-minutes. Sure, it wraps up in conventional fashion, even if imaginatively done. After all, there was a stultifying Production Code in effect. Still, the other 55-minutes amounts to a nail-biting trip down black shadow lane. Actor Gargan may not show much emotion as the conflicted cop. But then he's got to keep his real feelings inside. Otherwise he might give it all away, which includes not just his job but wife and family, as well. So, how did he get mixed up with the blonde man-eater in the first place. Apparently it was from working on a prior case that involved Jill and her ritzy clueless husband. It appears she sets a mean trap for about every guy crossing her predatory path, including bank presidents.

    No doubt about it, Jill's on the very edge of 40's perversity. Carter really looks the part of blonde ice-queen, even if nuance is not her strong point. I was hoping for some big-eye close-ups that made her similar role in Framed (1947) so memorable, but director Levin's camera stays mainly at a neutral distance. On the whole, it's the script and dark material that carry events.

    Anyway, this early noir is a neglected must-see. I'm not going to say gem, since it doesn't quite rise to that level. Still, for sheer 1940's daring, Harold Smith's crafty little screenplay remains an eye-opener.

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    Trama

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    Lo sapevi?

    Modifica
    • Quiz
      The car the murderer uses is a rare 1933 Packard Standard Eight Coupe Roadster. In excellent condition in 2020 this car could sell for well over $100,000.
    • Blooper
      Although the majority of the movie is a prolonged flashback set in the early 1930s, absolutely everything (with the exception of a few vintage cars) - hairstyles, wardrobe, music and decor, is strictly contemporary 1946, without the slightest attempt at accuracy.
    • Citazioni

      Jill Merrill: I don't need you, I can buy and sell you.I don't know why I bother seeing you.

      Tony Cochrane: You don't know why? I'll tell you. You're rotten rich through and through.Like something they serve at the Ritz,only its been laying out in the sun too long.

      Jill Merrill: That's right, Tony, you're not my kind. The clean cut type.Little tootsie-wootsie loves her great big stupid peasant.

      Tony Cochrane: Yeah, for all your dough, like a ton of bricks!

      Jill Merrill: How picturesque. And you were totally unresponsive?

      Tony Cochrane: You're like a sickness. I was sick!

      Jill Merrill: No, Tony it was a fever!

      Tony Cochrane: Its a nightmare! With convulsions!

    • Connessioni
      Spin-off Night Editor (1952)

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    Dettagli

    Modifica
    • Data di uscita
      • 29 marzo 1946 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Night Editor
    • Azienda produttrice
      • Columbia Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 8 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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