Golpe do Destino

Dick Powell, Rhonda Fleming, Regis Toomey, Richard Erdman, and Jean Porter star in "Cry Danger," a 1951 film directed by Robert Parrish.

Powell plays Rocky Mulloy, an ex-con, recently released from prison after an alibi appears that clears him of a robbery/murder. The alibi is a Marine (Erdman) named DeLong who says that he and Powell were drinking together at the time the job was pulled.

In truth, Powell didn't commit the crime. However, he has never seen this Marine before in his life. The Marine wants money from the robbery.

The two rent a trailer in a trailer park, where the wife (Rhonda Fleming) of his ex-partner, who is still in prison, lives. She's actually an old girlfriend of Rocky's and the two are still attracted to one another.

Rocky goes after a bookie (William Conrad) who cheated him and unknowingly bets on a fixed race, is paid in the robbery money, which sends the police after him.

It's good to read the comments for this film and realize that many people appreciate the versatility and talent of Dick Powell. He was many things to many people - a wonderful singer, a great tough guy, a savvy businessman, a good director, and a marvelous producer who launched Sam Peckinpah and Aaron Spelling. Not all of his later films were "A" productions, but he was always excellent.

The performances by Erdman and Conrad are very good. Rhonda Fleming is her usual beautiful self, and Jean Porter plays a lively party girl.

This is a good noir that captures the atmosphere of post-war LA, the down and out side of it. It's exciting and a little unpredictable, too, enough to keep you watching.

Dick Powell is pardoned for a crime and searches for justice in post-war Los Angeles. Powell moves into a seamy trailer park on a hill overlooking the downtown (there is a great film shot of this) and teams with a disabled ex-marine. Powell confronts a gangster named Castro, played by William Conrad. Castro is definitely bad news for everyone around him.

The plot is not exceptional and certainly does not transcend B-movie standards, but the film is visually good and somehow the characters and the setting create a milieu which draws in the viewer. Definitely worth watching.

This film was shot on location in and around the Bunker Hill area of Los Angeles in the 1950's. The seedy trailer park, the crummy cocktail bars, and the Union Station (built in 1939) are the backdrop for a much better than average tale of revenge. Dick Powell gets off a train at the Union Station after spending 5 years in prison for a crime he didn't commit. He is met by a cop (Regis Toomey) that thinks he not only did the crime, but that he has stashed the loot. Also on the welcoming committee is Richard Erdman as an alcoholic former Marine that provided Powell with an alibi that got him out of prison. Rhonda Fleming plays the wife of a pal of Powell's that remains in prison for the crime. Powell intends to prove not only his innocence, but that of his buddy.

Add to the mix William Conrad as a bad guy with his own agenda and you have a better than average noir. The dialog between Powell and Erdman is dark and funny at the same time. The cinematography captures a part of Los Angeles that fell under the urban renewal wrecking ball that ripped the soul out of this part of the city. Not the greatest film noir ever made, but one of my favorites. Why isn't this film out on DVD?

Among the male stars of the noir cycle, Dick Powell was the most peevish. When Humphrey Bogart smart-talked, it was with a wry bonhomie; when Robert Mitchum did it, it was with mumbled nonchalance. But when Powell snaps back a retort, you know he's got his dander up. This drastic change from his earlier days as happy-go-lucky hoofer began with his assumption (the first) of Philip Marlowe in Murder, My Sweet and continued in Cornered, Johnny O'Clock, To the Ends of the Earth, and The Pitfall. His prickly temper informs Robert Parrish's Cry Danger, the last true noir he would appear in before affecting a pipe and cardigans in The Bad and the Beautiful.

Carrying a grip with the weight of the world in it, Powell steps off a train in Los Angeles; he's just spent five years in prison for a robbery and murder for which he took the rap. Luckily, a war-wounded and hard-drinking Marine (Richard Erdman), with whom he was supposedly drinking when the job was pulled, surfaced to give him an alibi. But Powell has never met this old buddy before.

Nonetheless, they throw their lot together and rent an armadillo-like trailer in a run-down park, where the wife of his old partner (Rhonda Fleming) lives, too. Powell has scores to settle, beginning with big-time bookie William Conrad who, he reckons, owes him $50-grand. Conrad pays off in classic mob fashion, by giving him a tip on a fixed race. The payoff money puts the police on his tail, as its marked bills are part of the take from the old robbery. But all traces of the illegal book have vanished, so Powell can't prove his innocence. He starts stalking Conrad for revenge, even though he's dodging pot-shots in the trailer park, while the duplicity that ensnared him lies much closer to home....

Cry Danger has a number of points in its favor, chief among them the pitiless photography of Joseph Biroc (it's decidedly the low-rent side of the City of Angels). Parrish keeps hustling the story along, nonetheless slowing down enough to allow Erdman a craftily underplayed, memorable performance (the same can't be said of Fleming, who simply lacks the wherewithal to function convincingly as femme fatale). There's a high quotient of violence, too – particularly when Powell extracts a confession from Conrad through a one-sided game of Russian Roulette. Somehow, though, the ingenuity of the earlier part of the picture starts to peter out near the end, turning its oddly low-key ending into something of an afterthought.

Good dialog and a fast-moving story make this one of the better somewhat-unknown film noirs of its day.

Dick Powell and Jay Adler wisecrack their way through this film with some humorous sarcasm. Both are a lot of fun to watch. Powell was in his prime for this kind of role. He was much more mature looking than in his earlier musical days and he fits the part of a tough detective to a tee. His dialog with the tough cop, played by Regis Toomey, also is excellent stuff.

Jean Porter provides added humor with her supporting role as the bimbo-thief date for Adler and Rhonda Fleming adds beauty. A younger William Conrad - with a dark head of hair and a mustache - also has a key role in here.

Even though it is classified as film noir, I'm not sure it belongs in that category because it doesn't feature the brooding, dark type of characters and atmosphere one usually sees in that genre. One place is does belong is in your collection, if you like classic crime stories. This is another attractive film that still hasn't been issued on DVD.