Na Boca do Lobo

Appointment with Danger is directed by Lewis Allen and written by Richard L. Breen and Warren Duff. It stars Alan Ladd, Phyllis Calvert, Paul Stewart, Jan Sterling, Jack Webb, Stacy Harris and Harry Morgan. Music is by Victor Young and cinematography by John F. Seitz.

Al Goddard (Ladd) is a U.S. Postal Inspector sent to investigate the grim murder of one of his colleagues. There's a witness to locate and possibly protect, a nun, Sister Augustine (Calvert), and soon enough Al has to go undercover as a crook to infiltrate the gang responsible for the murder. Not only that, but they plan to steal one million dollars being transported by the U.S.P.S., clearly Al has a lot on his plate.

Alan Ladd's last film noir (though it barely qualifies as such) is good entertainment that relies on hardboiled speak more than it does action or mystery. A great opening involving the murder is kind of a false dawn, in that the mood and visual strengths on show here are rarely reproduced during rest of pic. However, that is a small complaint in truth because it's so much fun to be around Ladd's Al Goddard.

We quickly learn that he is basically a great cop but not much of a human being, since we know who did the murder from the off, we have to rely on Goddard's undercover operation for our suspense quota, which comes in spades. Goddard is constantly at threat of being exposed, he has to consistently think on his feet, have a quip or yarn to spin to deflect suspicion, so this keeps things spicy in the story.

The strand involving Calvert's nun is a weak one, it's clearly a narrative device to smooth out Goddard's rough edges, but it never really works and that the writers turn her into a dumb ass late in the play is annoying. Another irritant is that Sterling (wasted) as Paul Stewart's (good villain value as usual) moll really doesn't impact on proceedings, she wanders in and out of the film promising to be a femme fatale, but it never happens and after playing out as a weak red herring she exits with a whimper.

Some smart location work is on show, with the backdrop of pool halls and cheap hotels utilised to good effect by Allen and Seitz, and a couple of scenes really sock the jaw; literally in one case! But it never rises above being a routine cops and robbers based homage to the U.S.P.S. Inspectors. Thankfully Ladd is on form and delivers the best parts of the screenplay with a steely cold sharpness that positively tickles the fancy of noir lovers. 6.5/10

I caught this by accident on Sky at a friend's place at 8 one Sunday morning, so it was clear what Sky thought of it. In fact it's a gripping & well-crafted 'film gris', making good, expressive use of studio sets (with occasional location montages) and showing Alan Ladd at his best - the archangel of understated cold menace. Closed-in tension, violence & intrigue are the generic elements - the heart of Hollywood crime movies - and Ladd needs to be respected as a screen actor, not mocked for not being very tall. His career was slipping, and the length & other casting (strong character actors, no stars) suggest a B movie but here he's as natural as Spencer Tracey in a laid-back tough guy role. Unusual too in that it shuts out any Cold War vibes & focuses on a public utility - the US Postal Service.

I just seen Appointment With Danger for the first time and quite enjoyed it.

A postal inspector is murdered in Gary, Indiana and fellow inspector, Al Goddard is sent over there to investigate this. He tries to track down a nun who witnessed the murder, which he does. He then joins the gang responsible and makes out he is a "bent" postal inspector.

This movie is shot well in black and white and well on location too, especially the railway scenes.

The cast includes the excellent Alan Ladd (Shane) as Goddard, Phyllis Calvert, Paul Stewart and Jan Sterling.

For some reason, Appointment With Danger doesn't seem to have been released on video or DVD, so you will have to rely on it coming on telly and tape it, which I did.

Rating: 3 and a half stars out of 5.

For someone who grew up in the Fifties watching Dragnet as a kid, viewing this film in the Nineties was strange: the cop-heroes of that TV show, Jack Webb and Harry Morgan, are now villains in this film!

Webb played the tougher of the two characters, by far, and was effective in that role. Meanwhile, Alan Ladd played his normal good guy-tough guy role. Another odd thing about this movie is that Ladd was an agent for the U.S. Post Office, an organization - at least back then before people went "postal" - one doesn't normally think need policemen.

But, as it was explained in the film, it was needed and the movie goes quickly from a corny-hokey start into a tough film noir. Phyllis Calvert adds a soft touch to the proceedings as a nun who humanizes Ladd, and helps him with the case.

In all, I'm making this sound perhaps more interesting than it was, because it was okay but nothing super. Still, I'd like to see it get a DVD treatment some day and I'd consider buying it.

Appointment with Danger (1951)

A good, run-of-the-mill crime story. It's more a heist film than a true noir, and it has a popular twist of featuring a government cop as the lead character. There are several FBI films like this (they start with a shot of government building and have a serious narrator or title card give the context), but this is the only one I know of about the U.S. Post Office police.

Alan Ladd is a solid actor, in urban crime films or in Westerns, but he's never quite inspiring or memorable, and so the movie is hampered from the start. On the other hand, there is a slew of interesting secondary characters, and some are real characters (like the ever-impressive Paul Stewart, who had his real start in "Citizen Kane"). We get to bomb through some great sets and locations (including the waterfront), and the photography by John Seitz (one of the best, see "Sunset Blvd." and "Double Indemnity") is great. The editing seemed a little sudden at times, almost as if this was shortened version (it wasn't, as far as anyone has noted), but you have to pay attention a couple times to follow what happens. In a way, I think they expect the audience to know the usual twists of this kind of plot, and if that helps explain its fast cutting, it also reveals a kind of formula behind it all.

See it? Yes, of course. It's great in particular ways.