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If they had called it "The life of a Gun Moll", nobody probably would have gone to see it. So they went with the Dillinger angle, but forget it this is Pamela Sue's film.

If you ever wondered how "good little" girls end up being window dressing for some of the most notorious gangsters that ever lived, this film gives a good look at her rebellion against her strict religious up bringing and her descent into crime and prostitution.

Pamela Sue is so cute, you have a hard time believing she is a hardened criminal, but she just about pulls it off.

I first saw this film on TV and with the commercial breaks, it suffered. However, I later saw it without the commercials and it's so much better. It's the story of Gangster John Dillenger and his last girlfriend. Pamela Sue Martin as the moll and Robert Conrad as Dillenger both deliver great performances. I don't know much about John Dillenger, but I wonder if he was as "gentlemanly" as Conrads' portrayal was. Just a thought! However, it is a strong story, with enough violence to be realistic (those were violent times). There's also the romantic element that gives a softness to Dillenger. As I said, I wonder if he was a romantic at all. Anyway, a decent enough flick and well-acted.

Clearly a product of the Corman School, Sayles's first major screenplay shows that he already knew how to tell a great story from an interesting angle, something he has never forgotten how to do.

Director Teague keeps the pace rattling along, and hammers the message home fast (he was an occasional assistant to Sam Fuller, of course).

The plot's quite straightforward, and all the better so - this packs something of the punch of the 30's classic gangster films, but with distinctly 70's sensibilities to violence.

Where the film becomes more interesting than your average low-budget 'gangster-exploiter', however, is in the telling of the story through her eyes, rather than his (a distinctly 70's approach). Yet it's wonderfully ambiguous, on reflection, as to whether the film champions her willingness to break away and start acting for herself (she's a great strong character), or whether she just goes from one woman in peril situation to the other (which is the plot, basically).

I've probably over-analyzed it already, but if you've got a spare hour and a half on your hands, give it a chance. A classic of its kind.

Fans of 1930's "pre-code" gangster flicks will probably love "The Lady In Red," a beautiful and realistic love letter to films such as "Scarface" (1932) and "Public Enemy." Pamela Sue Martin is ultra lovable as Polly, the rebellious farm girl who just seems to attract trouble like a magnet. At the wrong place at the wrong time, Polly is used as a human shield by the Dillinger gang as they speed away from a bank robbery. They ditch her after she serves her purpose, but a chain of events leads Polly down a very winding road that includes sweat shops, prostitution, a prison stint, and culminating with Polly and her friends picking up the machine guns, John Dillinger style, after the authorities do her wrong. Episodic in structure, which is not a problem, as every 'episode' in Polly's journey is more fascinating and just plain wild than the previous chapter. Now people refer to this as a low budget "B" movie, but the production values are very sleek, with stunning attention to period detail; the cars, the clothes, the hairstyles, the sets and the music, are all completely realistic in a way that is seldom seen in even higher budget films. The cinematography is stunning and this movie is gorgeous. The scenes in the brothel are reminiscent of the Storybook era sets of Louis Malle's "Pretty Baby," while the prison episode is more powerful and realistic than the roughest "women in prison" movie...and YES; that is Beula Ballbreaker from "Porky's," as the evil prison matron, turning in a perfectly savage, evil performance as a hate-filled racist lesbian guard. "Lady In Red" is the perfect balance of exploitation and Hollywood productions like "Bonnie & Clyde," but this is actually more fun than "Bonnie & Clyde." It deserves more recognition.

Polly Franklin (Pamela Sue Martin) is an innocent farm girl obsessed with 42nd Street. She gets caught up with the Dillinger gang's bank robbery. She gets a red dress from a reporter and loses her virginity to him. Her father beats her and she runs away. She is befriended by Rose at a sweatshop but her life descends into prison and forced into prostitution by the ruthless warden.

It's produced by the Roger Corman family. It's a bit rambling. Pamela Sue Martin used to be a star in the 70s and 80s. I missed most of that since I didn't watch Dynasty. I don't really see the range although she has some charisma. The biggest issue is that this story is simply a series of incidents. Some parts are less compelling than others. This could have been an interesting prison movie but that part is pretty quick. The sweatshop confused me a bit. This needs some better directing.

"The Lady in Red" is the kind of movie that those of us fans of cult cinema and b-movies live for. It's an unheralded classic, and a movie that totally rises above its inauspicious "grindhouse" or exploitation roots.

I believe the movie's success may have been undercut by advertising that suggests it is about Dillinger. It isn't. It's the story of Dillinger's alleged girlfriend, the one who supposedly betrayed him to the feds. The story is, if anything, more interesting than Dillinger's, and packs a feminist punch. It shows a path to crime more heartbreaking than any famous bankrobber's.

The protagonist is thrown out of home and ends up in jail. There's a whole genre of women in prison movies, and they almost all feature a sadistic lesbian guard. Yet, none of them are this good, and none of the guards are as horribly believable as the one in this movie.

The movie only spends about half an hour there, and is yet more believable and impactful than all the women in prison movies combined. The only way out for the protagonist is prostitution, which is where she comes into contact with crime figures she is destined to join.

Dillinger is, in fact, just another guy she meets, and that's a massive strength. To her, he was no hero. He was just another man, a potential user, thief, murderer, whatever.

This is the world through the eyes of a down-on-her-luck woman who had little choice but to turn to crime.

How fitting that it would be so roundly ignored, even after all these years.

There is a lot here to like. First the film captures the 1930s time period way beyond expectations. The running board cars, flapper dresses, speak easies, tommy guns, are all well displayed. The nudity is integrated into the story, and does not appear gratuitous as in so many similar grind house movies. The who's who of character actors is impressive with Dick Miller, and Nancy Parsons memorable. Pamela Sue Martin carries the film, and her lively performance is necessary because the pacing bogs down several times, and makes the movie seem longer than it actually is. More than once I thought the credits would roll, only to have the story continue. - MERK

This picture makes for an interesting companion piece to Michael Mann's recent "Public Enemies"; it covers not only the same era and the same setting but, inevitably, much of the same source material. And compared to earlier black-and-white gangster movies it shares a similar distinctly modern sensibility. Indeed, dubbed a "cheerful exploitation flick", it far outdoes the more recent film in the sheer quantity of sex and nudity on display. Yet oddly enough it manages to avoid the impression of gratuitous indulgence: the lolling female flesh on view is treated as more matter-of-fact (sometimes grotesque) than erotic, and the explicit violence is never casually treated.

"The Lady in Red" turns out to succeed on a number of levels where "Public Enemies" failed: above all and most vitally in characterization and plot development. We actually care what becomes of the heroine and those she meets, however lurid the scenarios that ensue. Individuals are vividly drawn and memorable, and a vein of black humour periodically enlivens the script; it even conjures up some moments of almost lyrical happiness to provide a far more convincing love affair than Mann can achieve. Every victory over tyranny may seem to leave Polly in the long term worse off, and yet we cheer fiercely at her rebellion. There is no lack of audience identification here.

The film is also surprisingly sure-footed in its period setting. After the initial reflex jolt at seeing the familiar monochrome settings re-enacted in colour -- unthinking: of course in reality the colour would always have been there, it's just that we never saw it -- "Lady in Red" pulls off the rare trick of presenting a world that seems entirely natural to its era. The cars are not conscious museum pieces, the clothes are not being worn as costumes, the props are not just set dressing: 'period' productions so often give the air of having tried too hard over every glossy detail, or else of importing a patronising grime of deprivation. This one seems to do neither. It even gets away with the potentially heavy-handed use of period cultural references (Elliot Ness, King Kong). After a while -- the ultimate accolade -- you forget that it's in colour.

And finally, despite an escalating violence/body count, this film manages to retain death to genuinely shocking effect. There are no diminishing-return shots of gun porn here; no five-minute jerking, numbing sprays of muzzle-flash after dark. (And, although it had not until now occurred to me, no cars that roll over and burst into flames...) A lot of people wind up dead one way or another: but seen through Polly's eyes, it is neither cheap entertainment nor taken for granted.

Acting performances are admirable all round in both major and minor roles. The use of music, in particular the evocative "42nd Street" as general theme to the picture in changing moods for each context, is excellently done. This isn't the sort of picture I would have anticipated liking -- the breast count alone is about fifty times greater than anything I'd normally see -- but I found it quite unexpectedly successful... and, I'm afraid, superior on every level to "Public Enemies", with which it has on the surface so much 'modernity' in common.

Great watch Small shots and the unknown subtley with the signature style from the 70's is completely gone in movies today. Someone's gotta start makin' retro throwback modern 70's movies...with all the cgi crap we have now just imagine how priceless they could make em now!

Often the crime scene was overpowered by the men, The Woman In Red points out an opposite vision of preestablished status quo, where a young woman after passing by many plights insert herself in world of crime on late twenties, a stunning performance of the gorgeous Pamela Sue Martin arouse attention nothing less than Tarantino that had great regards of the little masterpiece.

Deeply overshadowed by majors releases at its time, it somehow thru the time arouse awareness of many defenders, watching this picture for first time I'd realize the filthy environment of house of pleasures, the harassment on the industry and on the jail as well a corruptive world where just the strong can survive.

Thanks for reading.

Resume: First watch: 2024 / How many: 1 / Source: DVD / Rating: 8.

Lewis Teague gave us this crime drama from the seventies, and I can still think of BLOODY MAMA or BIG BAD MAMMA, also produced during the same decade. I guess Lewis Teague had some link in common with Corman's "family", so was under influence of the master. This movie is not genuinely a gangster film in the first part, but mostly a drama, only the second part, at long last, will satisfy the gangster element buffs. There is also a bit of women's prison scheme in the first part; again a Corman's production influence. A curiosity but not a masterpiece, not a must see. Good little film to discover if you are curious enough. Note that Robert Conrad played in YOUNG DILLINGER, back in 1965, where he was Pretty Boyd Floyd. And I also like the supporting characters, who arrive late in the story, whom we can feel attached to, and who suddenly die. I love this. And this film with a strong, but also believable, female lead could easily be remade now, in 2024, the modern fashion. This is for me my favourite from director Lewis Teague, with also CUJO. One last thing, Louise Fletcher plays here, but no in the cruel matron prison warden.... As she did in ONE FLEW OVER A CUCUU NEST.