Capturado

The twist of this film is that Bill Williams is in jail with his bail set at $25,000 and Ella Raines, his wife, seeks to have him bailed out by bail bondsman George Raft, with whom she had a platonic affair (the production code still held some sway in 1949) while married to Williams. But she only has $4,000 and Raft and his partner Pat O'Brien want her to come up with the whole $25,000. Duh, if she had the $25,000 she wouldn't need them; she would post the bail. The whole point of the bail bond business is that you pay them about 10% of the bail amount and they put up the rest. In return for their fee they assume liability for the whole amount if the defendant skips town. Later, when a mysterious and obviously fraudulent stranger offers Raft and O'Brien $12,000 towards the $25,000 bond, they somewhat unethically keep that plus the $4,000 and still worry that they're not being paid enough.

Williams's crime is also hard to understand. He is said to have cashed $150,000 in securities for two men without knowing they were stolen. Somehow he is unable to name or describe these men, although one of them owns a night club he frequents. Similarly, incorruptible cop Jim Backus wasn't able to find Williams for two years despite his being in plain sight. And despite Williams being unable to identify the two men, they want him killed so he can't identify them.

This film has the noir look and cast but it's more like a routine detective story where the detective (or ex-cop bail bondsman in this case) goes on a sort of treasure hunt where person A sends him to B who sends him to C and so on until the movie has gone on long enough for him to solve the case.

Backus acts like Raft's posting bond for this inept patsy was equivalent to springing a mass murderer. O'Brien keeps acting suspiciously for no reason. Raines doesn't strike me as the femme fatale she's supposed to be, but that's just personal taste.

Obligatory car-driving-over-cliff scene. L. A.'s canyons were littered with auto bodies in those days.

A career police detective turned bail bondsman (George Raft) meets his ex-flame (Ella Raines) (he knows it's her because of the scent of the perfume that's in her and her husband's hotel room which he and detective Jim Backus search) in a fairly intricate story about her husband (Bill Williams) whose arrested for suspicion of killing a cop and then bailed out by Raft, against the wishes of his partner (Pat O'Brien). Why he's bailed out and who actually comes up with sufficient money to get him out of jail make for interesting viewing. As well, Ella Raines hits some of her more sultry looking scenes in this movie, which may not be the best movie she's ever been in, but still percolates along more than acceptably, especially when the real killer emerges as the sharp little film heads out of LA and into a convenient canyon.

"A Dangerous Profession" is a decent enough film...the sort mildly entertaining stuff that George Raft made in the post-war years. It begins with Vince (Raft) working as a bail bondsman along with his partner (Pat O'Brien). Apparently Vince used to be a cop but decided to change careers. Why he wanted a change soon becomes apparently when his old girlfriend, Lucy (Ella Raines) shows up to try to bail her stupid husband out of jail. This IS a surprise...as Vince hasn't heard from her since she disappeared some time ago...nor did he know she was married...and had been when he knew her! Of course it's a surprise but Vince is a dope...so he helps her and her dopier husband. But when the husband soon is murdered, things get really, really confusing. So what's next?

This is a mildly interesting film but it suffers a bit from Raft's relatively dull screen persona as well as his being a bit too trusting to be realistic. The story also becomes a bit confusing and is, if you think about it, a bit like a reworking of "Casablanca"! Odd but worth seeing if you like old film noir movies.

A Dangerous Profession is directed by Ted Tetzlaff and written by Warren Duff and Martin Rackin. It stars George Raft, Ella Raines, Pat O'Brien, Bill Williams and Jim Backus. Music is by Frederick Hollander and cinematography by Robert De Grasse.

The scene is set, it's Los Angeles and Police Lt. Nick Ferrone (Backus) explains to us with stentorian narration about the whiles of bail bond brokers. This story is concerned with one in particular, Vince Kane (Raft), a one time policeman who followed the lure of the coin into a partnership of a bail bonds operation. It's all going swimmingly well, he's making lots of cash, has gals eating out of his hand, but when a pretty face from his past turns up requesting a favour? Vince suddenly finds himself in a quagmire of murder, deceit and emotional discord.

What cop ever reformed?

Shall we cut to the chase here? This is not a "great" film, though I do believe that it's very under seen and therefore the meagre internet ratings it has - and the lack of reviews for it - don't quite tell the whole story.

There's nothing particularly striking about the visual aspects here, De Grasse's photography occasionally falls in line with what film noir fans consider standard procedure, which has led a few critics to question the film's film noir status. This is all about Vince Kane and how he is thrust into a murky new world by a slinky femme, it may be a whodunit in essence, but the Vince and Lucy Brackett (Raines) axis is most assuredly noir.

You phony Gumshoe!

Action is in short supply, leaving much of the piece in talky territory. There's a few zinger lines of dialogue in the mix, but mostly it's screen writing 101. Yet in spite of the mixed qualities on offer here, it's a film that Raft fans are sure to enjoy, because he's very much great value as the stoic but emotionally troubled Vince. In fact O'Brien turns in one of his better performances and Raines is pleasingly sultry, meaning the cast perform well up to scratch, even if the screenplay does them few favours.

A mixed bag for sure, and hardly essential for fans of such cinematic fare, but there's just enough from the cast to make this one above average. 6/10

George Raft was a cop. Now he's a bail bondsman, in partnership with Pat O'Brien. A series of disappearing clients has him worried, as does Ella Raines, an old girl friend who reappears in his life.

It's a noirish sort of movie without many of the trappings; the most dramatic bit of lighting occurs in a shot of the firm's secretary taking a call, with the light shining through, the company's logo etched in reverse on the wall above and behind her. Ted Tetzlaff's direction is workmanlike, and as often seems the case, Raft's delivery is fast and guarded, giving the impression, as so many of his later movies do, that he's there for a paycheck, and anxious to get through the shoot as fast as he can. Jim Backus steals the movie as a police detective who seems to have a relationship with Raft.