Il cerchio si chiude

Ford was a natural for film noir, and "Framed" illustrates this. He is a more vulnerable character than we're used to seeing him play in his other films, and he seems to be easily duped by a beautiful blonde(Janis Carter).

Carter puts in a solid performance and should have been in more films of this type. She is perfect as the scheming and seductive Paula.

Barry Sullivan is a bad guy here, the co-schemer with Paula. While the plot is somewhat predictable, it does include enough surprises to make it a good film noir.

It puzzles me that Framed has apparently not been released on any format in video in either Region 1 or Region 2.

Perhaps Sony will produce a Volume 4 of Columbia film noir and include Framed.

I can't think of a movie in which he lost out, anyway.

Here he is a drifter who falls in with a treacherous woman. Initially, he offered work by her romantic interest, the king of film noir, Barry Sullivan. Someone once asked what movie star I felt I identified with most and it was Sullivan. The guy never gave a bad performance.

His girl here is played by Janis Carter. Her biography says that she was a hit in musicals on Broadway. I can see that. She has a boyishly cute look. (Ann Savage is hard to imagine in a musical. But look at Constance Towers, so fine in two Samuel Fuller movies and a Broadway darling.) Carter plays one evil woman! Wow, I would keep my distance from her! She's a waitress at a place called La Paloma when Ford meets her by she has high ambitions.

Edgar Buchanan is exceptionally touching as the miner who's willing to give engineer Ford a job. We can see he's kind of a loser but he is a very decent guy.

This is a tough little film. I recommend it highly.

What an opening! Mike's truck goes careening down a mountain road before pinballing through town. It's not only a riveting effect, but establishes Mike (Ford) as an honest workingman when he turns over his proceeds to the injured Jeff (Buchanan). Too bad he meets up with spider woman Paula (Carter) who spins a greedy web around the well- meaning patsy. As Paula, Carter is a powerful presence. She's got a way of acting that shows a lot of eyeball that's kind of scary. Actually, I think she's too strong, making her switch to the laid-back Mike not very believable. Their chemistry never really gels the way Paula's does with Steve (Sullivan). Unfortunately, that's a lack that undercuts the script's central twist.

Still, it's a solid noir thanks to the classic elements of the screenplay. Ford makes an interesting low-key fall guy. Not too many mining engineers turn up in noir, which I guess accounts for his occasional spiffy suits that look more like uptown Manhattan than temporary truck driver. Still, he's basically the classic working stiff looking for a job. Too bad he sees Paula's well-turned ankle first. Anyway, director Wallace films in journeyman style, except for that one inspired moment after the crash when Paula does a sharp gasping intake. It's a brief cameo shot whose only purpose is to connect Paula's sexuality with violence. For 1947, that's daring and Carter brings it off memorably. I guess it just goes to show how less can imply so much more in the imagination—a lesson contemporary film seems to have forgotten.

The movie may not be front rank noir, but it does have its moments.

Framed (AKA: Paula) is directed by Richard Wallace and adapted to screenplay by Ben Maddow from a story written by Jack Patrick. It stars Glenn Ford, Janis Carter, Barry Sullivan and Edgar Buchanan. Music is by Marlin Skiles and cinematography by Burnett Guffey.

Mike Lambert (Ford), down on his luck and fed up of getting nowhere in life, meets sultry waitress Paula Craig (Carter) and things will either get better or worse?

There's a road sign in this that grabs the attention, it reads DANGEROUS CURVES! Now that initially is in reference to a perilous road - with roads featuring prominently as dangerous parts of the play - but it quite easily could be, and in all probability is, a sneaky reference to Janis Carter's femme fatale. Paula Craig in Carter's hands dominates the film, not that Ford or Sullivan are pointless fodder, but it is both the actress and her character's show.

After a burst of pacey excitement opens the pic, action moves on to a cafe, from where we are introduced to Guffey's talents, from this point on almost everything is atmospherically shot. Slats and shads, lamps and cell bars, all get the Guffey lens treatment that's sitting superbly with the unfolding psychological dynamics. Very early on we are delivered two characters who basically are a cheater and a viper, while the main man of our story is a guy who struggling with his identity in life. He also likes a drink, but with that comes memory loss, which is never a good thing when you are holed up in a noirville town.

Stripping it back for examination you find the story is very simple, which is surprising and a little disappointing given the screenplay writer also did The Asphalt Jungle. Yet the characters and the actors performances, helped by some classy tech work, more than compensates - that is until the finale, which for some (me for sure) is a bad choice for character tone. But it's not a film killer, for we get everything from orgasmic glee shown in the process of a callous crime being committed, to characters either in need of a soul or facing their days of judgement. 7/10

Glenn Ford plays a stranger who drifts into town one day. However, he soon finds himself in a tiny bit of trouble and a beautiful lady (Janis Carter) comes to his rescue. However, this is NOT a kind lady but a femme fatale with an evil plan. Her and her married lover (Barry Sullivan) plan on murdering him in order to cover up some embezzlement. However, two huge monkey wrenches are tossed in--Carter's character is evil more evil than you might expect and Ford's is not nearly as stupid as she hoped. While the plot is decent (not great), the film is ultra-stylish, smoking hot and full of femme fatale badness--exactly what I like in a film! Not quite as hot and exciting as Ford's later film, "Gilda" but still quite good. It makes you wonder why Carter never really took off as an actress--she was exquisitely nasty and hot.