Tenebrosa avventura

Veteran small-time criminal Frank Lovejoy gets busted for hijacking a truck he stole. Because of his prison track record, both in doing time and in refusing to be a stool pigeon, he's given the choice: life in prison or help the feds take down big-time crime boss Forrest Tucker. They also tell him to look up his sister Evelyn Eaton, who's now a drug addict, and Tucker's the supplier. Lovejoy has no choice but to accept. Through his old flame Peggy Castle, who was once employed by Tucker as a call-girl, he gets a position in Tucker's organization where he can try and find something concrete on Tucker.

There are tons of these noir(-ish) crime movies where someone infiltrates a crime ring in order to bust it from the inside out. This one's above-average. Within the confines of the Production Code it does all it can to make Tucker's business as seedy and lowlife as possible, by showing the sister's addiction as well as Tucker disposing of a prostitute he cannot use anymore. There's nothing redeeming about this crime boss, but he's also not some crazed lunatic.

The acting is solid across the board. Both Lovejoy ('The Hitch- hiker') and Castle ('99 River Street') are good, playing hardened- by-life characters but with human emotion under the exterior (in Lovejoy's case pure rage, Castle wants to settle down but knows her past will always come back to haunt her). Tucker (in his sole noir?) plays it straight and understated, giving his character a mean edge, even when he doesn't talk. Tucker's sidekick is none other than Timothy Carey ('The Killing'), who has some very nervous fingers in this movie. But as much as I like seeing Carey being Carey, his hyperactive acting felt kinda misplaced here, it's too big a contrast.

The movie looks pretty good, especially the nighttime scenes are well-done. Lovejoy does some nice voice-over narration with lines that could've been pulled straight from a 40s pulp novel. There are no surprises tho, altho there rarely are in these 'expose'-type noirs. Director Harold Schuster did a similar noir a few years late, 'Portland Expose', but this one's better. DoP William Sickner ('Cry Vengeance') does a solid job, and together they occasionally craft a beautifully-looking scene (the one where Castle walks into the night is tender and doomed at the same time).

Overall, it's not a classic, but it's a good example of this type of crime-busting movies. It's competently made and acted, looks good and does more than enough to keep one's attention. It's not a movie with a lot of re-watch value tho, what you see is what you get. Still recommended. 7/10

"Casey Martin" can take the final fall for a life of crime or cut a deal with T-Men to go undercover. It takes a tough guy, up against the wall, to tackle the assignment. The actors and script follow through to deliver a good tale. It's surprising that major studios were still making Black & White films in 1955, but the format seems to fit this story.

Does the perfect crime exist? Casey Martin (Frank Lovejoy) appears to be intent on discovering the hard way that it doesn't. Having just spent nine years behind bars, he executes an efficient highway heist, only to snooker himself via a discarded cigarette pack, falling foul of both the police and the Treasury Department as a repercussion.

Lovejoy is offered the choice of a lifetime in the slammer, or a liaison with the good guys to bring down big time operator Dutch Becker (Forrest Tucker). Just one small problem....he's likely to catch a bullet, or six doing it. At the risk of winding up with more holes than a colander, he takes his chance to nail the ruthless, string pulling kingpin.

The former jailbird launches himself gamely into the double dealing, fast talking, hard drinking, heavy smoking, moll mangling, fist flailing, sharp shooting, underhand, underworld sewer dominated by heavy weight Tucker, replete with his entourage of hoods, hookers, hostesses and hangers-on. Tucker is the manipulative button pusher behind illegal hooch and gambling rackets across nine states, who, in a calm, reassuring manner asks only for honesty and loyalty from those on his payroll. Unsurprisingly, any disloyalty results in rather more than a fatherly arm around the shoulder and a quiet corrective word of advice.

Access to the big shot's tawdry activities involves developing an intimacy with beautiful Peggie Castle, who finds herself walking on increasingly thin ice as a consequence. Lovejoy also experiences a seething reacquaintance with Tucker's sidekick, long faced, lugubrious and latterly lachrymose Timothy Carey.

Not outstanding or exceptional, but consistently engaging and entertaining. Finger lickin' good!

A minor classic of sorts with 'hidden-gem' vibes, this fast-paced undercover informant cops-vs-mob movie, features memorable characters and locales, some excellent noirish shots here and there, plus an almost sociological view on this gang of hoodlums and its vices. Unusually, the musical score caught my attention with some expressive work that is superior to what one might typically expected from this kind of B-movie. Poignantly, a quote at the end from our protagonist (in voice-over, which appears sporadically throughout the movie) brings a frisson when you know that the actor died not very many years afterwards. Recommended.

"Fingerman" (1955) is a blunt, no-nonsense title for an excellently-crafted no-nonsense movie that seems to take itself just seriously enough to make it a little police-story masterpiece. The story of how an almost three-time loser agrees to a dangerous effort of nabbing an underworld kingpin for the Treasury Department is taut and dramatically exciting, with some "noir" thrown in for good measure. Crisp and convincingly delivered dialog is conducted in many 1950's-style locations, including night time streets illuminated by glowing street lamps, garish but yet swank nightclubs, dark back alleys, musty-appearing warehouse interiors, and small, dingy apartments, just to name some. We also get to see police techniques unfold and state of the art police equipment of the era put to good use. But best of all, we enjoy some really excellent character development, including relationships that grow in suspenseful ways, including the one between Casey (Frank Lovejoy) and Dutch (Forrest Tucker) and the one between Casey and creepy henchman Lou (Timothy Carey). Peggie Castle is likewise very watchable in her role. The carefully articulated music score is underplayed and successfully and unobtrusively adds to the suspense and the magic of the film. And one more added bonus is the sight of early 1950's Cadillacs and other vehicles, which punctuate the movie with even more compelling atmosphere. What's more, no annoying mistakes or problems in the positioning of actors or props made themselves apparent to this observer. So yes, this is a magnificent piece of film making on a less than grand budget and I can't imagine buffs of old films would not like it a whole lot.