Mulher e Crime

Among my William Berke's favourites with BETRAYAL FROM THE EAST, the most interesting crime films he ever made, with a good plot, a good cast and a good surprise because there are no real lead character here, no one and unique hero above the rest of the cast. It is not too long and it is tense all long the movie. Produced by Lippert Company, it is at the same quality scale as a RKO picture, a company for which William Berke also worked. The cops duo, some kind of a buddy scheme - Cesar Romero, George Brent - is a bit improbable but surprising in the good way. You can trust me, this film is not a masterpiece but a damn good B movie.

Raymond Greenleaf is the governor of a generic state. He wants to run for senator, but he has a secret. He's an escaped criminal, and a campaign of that order will reveal it. So machine fixer Raymond Burr applies pressure and gets a girl in the FBI's fingerprint file to remove his card. Burr arranges for everyone else down the line to wind up dead.

The FBI won't stand for its own personnel being killed. They get a line on the original name on the file and assign agents Cesar Romero and George Brent to the case.

There are some fine actors in this, including Audrey Totter in a good-girl role (alas, she's far more interesting in her evil roles in noirs). Other well-known players include Joi Lansing, Byron Foulger, Marie Blake (grandma in THE ADDAMS FAMILY) and O. Z. Whitehead. Under-rated B cinematographer Jack Greenhalgh gets a fine night-time river pursuit, and William Berke directs the film with a nice arc of excitement.

The Lippert organization was not known for producing great movies. They had a chain of theaters, and with the slowdown in post-war B production, they used their connections to set up a releasing organization, including some Korda films, and began their own production with talent fallen on hard times. Although none of their approximately 150 movies, most produced between 1948 and the mid-1950s, can be considered great films, they showcased interesting talent. This is one of their best.

Could this be it? The Holy Grail, the zenith of film noir mediocrity, the quintessential 'B' movie? F. B. I. Girl is no ordinary quickie/cheapie, but comes packed with a gallimaufry of bonus features: Stilted, wooden acting, unintentionally amusing dialogue, two investigators (Romero and Brent) who are about as charismatic as a wet week-end in Widnes and a thoroughly muddled plot, involving the stealing of incriminating fingerprint records.

Ambitious, but corrupt governor, Raymond Greenleaf, in collusion with his ruthless P. R. man, Raymond Burr, decide that the best way to beat a murder rap is....er... to commit more murders. Burr, a character who exudes all the charm of a fox ravaged bin bag, orchestrates the proceedings. His first patsy is Margia Dean. She may hold a responsible position with the F. B. I., but will she be prepared to FIB?

The growing body count produces a priceless sequence. Disguised as a priest, gravel voiced hood, Alexander Pope gains easy access to the merely critically wounded, hospitalized Don Garner, hoping to add a few finishing touches to the job, but events take a wildly unexpected turn, with uproarious results.

Despite having little going for it, F. B. I. Girl works surprisingly well on another level. It never descends to the depths of the gut-wrenchingly, mind numbingly abysmal. Moreover, from its mock military opening score the movie continues along a consistently entertaining, ham-fisted plateau, even raising the temperature by a few degrees for the relatively tense, fast moving finale. All involved appear to be tinkering with the dynamics, the nuts and bolts of the genre, creating, whether by design or not, a finished work, which conveys an air of affectionate parody. Taken in this context, F. B. I. Girl ticks all the boxes and emerges as a must-see vehicle.

This all but lost docu-noir was released By Poverty Row Lippert Productions, shot in just twelve days and directed by William Berke.... This gets better and better! Watch at your earliest opportunity and neatly avert years of regret.

CODA: Startling stat. In 1951 six million Americans had police records. There must be a message (in a bottle) for all of us.

Starting with its vistas of Washington, D.C. and one of those damned anthems, FBI Girl looks like another patriotic pageant ad majorem gloriam J. Edgar Hoover. But happily it runs low on idolatry and long on plot, and it turns out to be not only fun but a wee bit irreverent in spots, too.

Its opening gambit proves a bit of a stretch. In Capitol City in a nearby state, venerable Governor Raymond Greenleaf plans a run for the Senate. But if a federal investigating committee takes his fingerprints, his past identity as (what else?) a convicted murderer will come to light. He goes to his shadowy boss (who else?) Raymond Burr, a slick PR man who pulls filthy strings. Burr arranges for a young woman working in the Bureau to pull the incriminating file, after which she's ruthlessly rubbed out. In come unlikely agents Cesar Romero and George Brent to probe the mysterious murder; they enlist the aid of Audrey Totter, another clerk in the same department. But there's another twist: Totter's fiancé (Tom Drake), an ambitious young lobbyist, has close ties to Burr's organization....

Bizarre touches abound that seem inadvertent but together add up to a faintly subversive thread running through the movie. In an era when even long-married couples slumbered in chaste twin beds, two of Totter's roommates share a double (they seem dim-witted, as well, as do most of the low-level FBI personnel encountered). Later, these two blondes entertain Romero, who's waiting for Totter to return; they watch television, and we watch with them, as comics Tommy Noonan and Peter Marshall perform an extended routine. Now and again, the script hones a line to a sharp edge: When one of his henchmen tells Burr not to worry because when he was on the lam in Georgia, even the bloodhounds couldn't catch him, Burr purrs, `You've a stronger smell about you today.'

FBI Girl boasts a strong cast and a good plot, and it manages to rise a few rungs above most of the other cheap crime-documentary titles of its era. Its most arresting aspect lies in sketching the avaricious and powerful culture of lobbyists and spin-meisters that was starting to coalesce in the nation's capital and becoming, in effect a shadow government. Boy, oh boy – doesn't THAT date the movie.

This is a pretty good moderate budget Noir film. While it was produced by small-time Lippert Productions, it did have some relatively well-known names. The lead FBI agent was played by Cesar Romero and in a supporting role was George Brent. This was quite a change for Brent, as in the 30s and much of the 40s, he was a star. Here, his role is relatively forgettable--Romero is definitely "the man". In addition, Audrey Trotter plays a significant role in the film. However, although these three were bigger names at the time, the most important and interesting part in the picture was played by Raymond Burr. This was long before he gained fame from television, during the late 40s and 50s he was a perennial supporting heavy in Noir films. Here, however, his role is bigger and more interesting that ones he played in such Noir classics as BORDERLINE, HIS KIND OF WOMAN, DESPERATE and RAW DEAL. That's because instead of just another thug taking orders, here he is the schemer who makes all the decisions. And, when need be, he's tough as nails and ruthless--such as when he smacks Trotter around when she doesn't give him what he wants! The plot of the film is rather timely, as crooked politicians aren't exactly an unknown concept these days. The governor of a state (which one is never mentioned) is afraid because he's actually wanted for murder under another name for a crime he committed many years ago. With plans for running for the Senate, he's naturally worried that his true identity will come to light. So, it's up to his "fix-it man", Burr, to infiltrate the FBI and destroy his record. However, the Bureau finds out that someone did the theft but aren't sure whose record was stolen or why. So it's up to Romero and Brent to investigate--and investigation that eventually leads them to Trotter.

The film is very high on realism though relatively low on excitement. While there are some very sensational moments (especially the cool ending with Romero and his Tommy Gun), the film is much less concerned with way-out Noir sensibilities (such as camera angles and snappy dialog) and more on the realistic portrayal of procedures. In some ways, this is rather reminiscent of the radio and TV show "Dragnet" in mood and structure and that results in a very watchable and interesting film made even more so by Burr's exceptional performance.