Ratos Humanos

Ginger Rogers' performance (straight out of "Roxie Hart") makes this film. Others have found Ms. Rogers to be too old for the film. I think that the fact that she is a bit "past her prime" adds to her character, which has (let's face it) been "around the block" a few times. She and Brian Keith (doing his patented tough-as-nails copper) make a potent team. It is a pity that they did no more work together. The film itself is a strange mixture of Rogers' comic sass and Karlson's brand of hard-hitting melodrama. Ultimately, the film is sunk by an unbelievable plot contrivance that leaves the audience feeling betrayed. However, the performances (including, of course, Robinson's) make this a worthwhile experience.

As a big fan of Ginger Rogers', I think this film, although late in her career, is rather good. Of course with Edgar G. Robinson as the district attorney, there's no way this could be bad. The opening prison laundry scenes are more than a little hard to believe (after all, when was the last time you were in prison with perfectly manicured nails). Over all, drama and comedy nicely balanced.

Talky adaptation of Leonard Kantor's play "Dead Pigeon" stars Ginger Rogers as a wisecracking jailbird sprung from the pokey by police so she can testify against ruthless mobster at a high-profile murder trial. Somewhat confined, claustrophobic piece really needs Ginger's overacting to kick it into gear, and she's more than adept at chewing the scenery. The star, looking great in a short, ducktail bob, manages to create sparks playing opposite everyone in the picture except for Brian Keith as troubled cop Vince Striker (they just don't click). Drably filmed, mostly underwhelming, but Ginger's fans might want to take a look. ** from ****

Ginger Rogers gives one of her best performances here, as a tough gangster's "moll" turned state witness. Her gutsy, strong and sexy performance carries the conventional plot. Robinson and Keith are fine, but they don't have much to do except get dazzled by Ginger - and who wouldn't be. It is a little hard to believe that Keith, at 34, would fall for Ginger, at 44, but that's all part of the illusion of glamourous Hollywood. Ginger looks great, but she does look her age.

The main problem here is the inadequate adaptation from a stage play - the action is too confined in the one room, and there is too much dialogue. But this is worth catching for the original Ginger Spice in full fireworks' mode.

Lloyd Hallett (Robinson) has developed a case against the murderous Mafia kingpin Benjamin Costain (Lorne Greene, in his second film) to have him deported, because they can't get him indicted for any of his other crimes. Trouble is, all his other witnesses who could have testified against Costain have been killed. Sherry Conley (Rogers) who is serving a prison term, is their last chance to get him deported. She is offered a carrot - commutation of her sentence and a comfy hotel room with food much better than she had in prison. Will that be enough to get her to go through with testifying? If she lives? Watch and find out.

Rogers is excellent as an aging model/gangster's moll who was too softhearted in the past, and is paying for her decisions. Whether she's being sarcastic or dodging bullets, Rogers gives one of her best performances.

Robinson is matter of fact and businesslike in his role. Hallett's job is his life, and Robinson gets that across to the viewer. It's close to the role he played in "Double Indemnity" (1944), but Robinson makes the cardboard role human.

Brian Keith is very good in his role as the Fed who's at first disgusted with Sherry, then starts to care for her.

Lorne Green is one great menacing scumbag. Who knew the future wise papa of the Ponderosa had it in him? The shadowy cinematography is by Burnett Guffey, who also did the photography for "Bonnie and Clyde" (1967). The taut script was by William Bowers. Absolutely a hidden gem of noir, done by that economical studio, Columbia, which was full of good surprises such as this one, during the studio system era.