Desafiando o Perigo

One man (Raymond Burr) avenges being sent to prison for embezzling from a San Francisco trucking company by having the younger brother, a priest played by Arthur Franz, of the owner of the trucking company (George Raft) killed, shot in cold blood in a hotel room by Burr's prison associate Henry Morgan. The killing itself is impressively done and Morgan looks surprisingly mean. Burr is in top form looking downright menacing, and basically carries a lot of this film, as Raft's part goes way overboard as the vengeful older brother, though the Gideon's Bible angle of the film gives the part some saving grace. Virginia Mayo's role as one of the people who stayed in the hotel room where the murder took place, does not add much, as she is used by Raft to help find the Bible in which there is supposedly a clue to the killer's identity. As well, the great talent of Gene Lockhart gets somewhat squandered in his role as company VP. The role of the Bible itself makes the film a bit of a religious noir, an element that is also captured in some superb cinematography by the great Bert Glennon. The final fifteen minutes do definitely not let one down as Burr and Raft meet in the trucking company office on a rainy night, and the pieces fall efficiently together.

I'm not all that familiar with director Roy Del Ruth, but this was a surprisingly solid little film noir. George Raft's brother is murdered, but left a clue as to the identity of his killer in a Gideon Bible, the MacGuffin of the piece, which Raft spends most of the film trying to locate. There's a fine cast for a low budget crime picture, which includes the under appreciated Virginia Mayo, along with Gene Lockhart, Raymond Burr, and Henry Morgan (who nearly steals the picture with his villainous phychotic supporting role). Overall, the film isn't all that original, but it has a strong cast and solid direction, which makes it a must see for fans of film noir.

George Raft stars in the 1949 "Red Light" with Virginia Mayo, Raymond Burr, Gene Lockhart, Arthur Franz, and a host of other familiar faces.

Raft plays Johnny Torno, the head of the Torno Freight Company. When he caught Nick Cherney (Burr) embezzling from him, he had him put in prison.

When Johnny's brother Jess, an army chaplain, is discharged, Nick sees a chance to get back at Johnny, who adores his brother. Jess is found dying in a hotel room, and all he can say to Johnny is, "Bible...in the Bible." Johnny believes that Jess means his own Bible. Eventually he realizes he meant the Gideon Bible in his hotel room. But the Gideon Bible is missing by the time Johnny gets back there.

Johnny sets out to find the Bible by tracking down anyone who had stayed in the room since Jess, determined to find out who killed his brother and killing the murderer himself.

The Bible plays an important part in the film, not just the physical Bible, but what's inside. And it isn't what Johnny thinks.

I really liked this movie because of its interesting slant, and also, I don't know what it is, but I like George Raft. He normally stays in one range - he's dapper, he gets angry, he's tough -- and in this film, he's really tough. I mean, nobody gets to him, not even a blind man! One thing Raft had on screen was warmth, and here, you see Johnny's love for Jess, and his pain when his brother dies.

The other thing about this movie that is wonderful is all the familiar faces - besides actors known primarily for films: Raft, Mayo, and Lockhart, we have TV star Burr, Harry Morgan (September Bride, Pete & Gladys, MASH), William Frawley (I Love Lucy), Victor Sen Young (Charlie Chan, Bonanza), Barton MacLane (I Dream of Jeannie), Arthur Franz, who was in everything, Philip Pine, who must have done every TV show ever, Ken Murray, known for his home movies of celebrities, Paul Frees, the "Man of a Thousand Voices" who was the voice of Boris on Rocky the Squirrel), Bob Jellison (Bobby the Bellboy when "I Love Lucy" was in Hollywood), and Marlon Brando's first wife Movita.

Dmitri Tiomkin's music ranges from riffs on Ave Maria, Dies Irae, and some Tosca thrown in. Good movie.

I'm not all that familiar with director Roy Del Ruth, but this was a surprisingly solid little film noir. George Raft's brother is murdered, but left a clue as to the identity of his killer in a Gideon Bible, the MacGuffin of the piece, which Raft spends most of the film trying to locate. There's a fine cast for a low budget crime picture, which includes the under appreciated Virginia Mayo, along with Gene Lockhart, Raymond Burr, William Frawley, and Henry Morgan (who nearly steals the picture with his villainous phychotic supporting role). Del Ruth directs this film noir with a fair amount of visual style, which was the main reason for holding my interest. Dimitri Tiomkin provided the score. Overall, the film isn't all that original, but it has a strong cast and solid direction, which makes it a must see for fans of film noir. FUN FACT! I recently learned that star Raft was a functional illiterate who had to have his scripts read to him by others.

Red Light is directed by Roy Del Ruth and adapted to screenplay by George Callahan from the story This Guy Gideon written by Don Barry. It stars George Raft, Virginia Mayo, Raymond Burr, Harry Morgan and Gene Lockhart. Music is by Dimitri Tiomkin and cinematography by Bert Glennon.

Something of an oddity, Red Light finds George Raft up to his neck in religion, revenge and a smouldering Virginia Mayo. After his brother, a chaplain, is murdered, he sets off to find the killer, whom can be identified by a message scrawled in a Gideon Bible. Find the Bible, find the killer.

It is brought into the film noir sphere of things via Glennon's photography, which kicks in at the hour mark and runs concurrent with the murky thematics in the narrative, Frisco a rain sodden place of sleaze. Other than that it plays more as a crime drama, albeit one with some decidedly spicy killings and another top villain turn from Raymond Burr. Tiomkin's musical cues are strange and not always in sync with what is happening on screen, while the biblical hermeneutics and various plot contrivances irk rather than perk.

See it for Burr and Glennon's work, or if you fancy a weird blend of noir and ethical religio redemptions! 6/10