User reviews

An almost completely forgotten Film-Noirish adventure, set in Panama and made by no-one famous, but at moments up there with just about the very best. The long wordless opening scene with the plane is as good a beginning as Touch of Evil or The Letter or any other film for that matter, and I think it likely to have been an inspiration for the first 20 minutes of Indiana Jones And The Temple Of Doom as well.

The dialogue is a delight throughout: so many great, succinct, telling lines, all pregnant with further meaning, and the camera communicates so much to us too. It's the kind of quality script that just isn't being written anymore today, and yet it's in what appears to be a cheap, throwaway B-movie: although all the bit parts are charming and likeable, the only face in Riff-Raff I've seen before is the lead, Pat O'Brien (though I can't remember where), and he's excellent as a cool, crooked, out of shape and morally questionable private eye - a gone-to-seed Humphrey Bogart - and the film is very much cut from a similar (if markedly cheaper) cloth to Casablanca or The Maltese Falcon, So if you like those, I see no reason you won't find something to enjoy in this one too.

The central macguffin of the map everyone's looking for being in plain sight all the time is a little far fetched, and there's no real emotional depth or dramatic urgency on display, which would have knocked it up into the big league of the classics, but even as it stands it might be one of the most enjoyable and best-realized B-movies ever made, so it's a crime it somehow fell through the cracks of history and is so forgotten today: existing copies are of poor quality, and it would be lovely to see it restored and rediscovered.

One of the many felicities of Ted Tetzlaff's top-notch Riffraff, the cinematography of George Diskant can be best seen, unencumbered by dialogue, in the first few dazzling minutes. Torrential storms darken an airfield in Peru, where in the dead of night a cargo plane bearing two passengers departs for Panama; only one of them arrives. The opening previews Tetzlaff's pure-cinema approach; he lets the story unfold through images (and occasionally sounds) with a casual adroitness that remains striking more than half a century later.

At the center of the story is Pat O'Brien, a Canal Zone operative-for-hire. The surviving passenger engages him for protection, but doesn't survive for long. Then an oil company hires him to find a map, supposedly with the vanished man, of unclaimed oil fields in Peru. Walter Slezak wants it, too, but through strong-arm tactics. O'Brien, with the help of his driver Percy Kilbride and nightclub singer Anne Jeffreys, sets out in pursuit of the elusive document (which we know from almost the get-go hangs pinned to a screen in his room).

In retrospectives of film noir, Riffraff usually gets overlooked. While its genre is international intrigue and its touch on the light side, its conventions and, especially, its look, bring it to the fringes of the noir cycle. (And it's a better movie than two noirs released the same year which mine similar veins: Calcutta and Singapore.)

Bigger stars like Humphrey Bogart and Alan Ladd monopolized this tough-guy-in-ports-of-call genre, but O'Brien acquits himself honorably. Unfortunately, he was nearing 50 at the time, and his early-middle-age looks probably weren't what post-war audiences were looking for (Bogart, however, was exactly the same age). No matter: the real heroes of Riffraff are Tetzlaff and Diskant, who collaborated to make what Judith Crist used to call a `movie movie.'

Riffraff finds Pat O'Brien as Dan Hammer, hardboiled private eye, operating in the Canal Zone which when the USA was operating the Panama Canal had a kind of hybrid sovereignty between America and Panama. Of course other than an aerial shot at the beginning of the film, no one got closer to Panama than the backlot of RKO Studios.

I'm not sure if Mickey Spillane had already created his character of Mike Hammer, but O'Brien's portrayal sure could have been the model for it.

O'Brien is hired by someone to locate a missing map of some undiscovered South American oil fields. His client is later murdered and that starts the ball rolling.

A lot of the plot elements of Riffraff are found in that other private eye classic Murder, My Sweet and though Riffraff is entertaining, it doesn't hold a candle to that classic noir.

Anne Jeffreys does well as the singer/moll who actually proves to be quite a bit of help to him in that last encounter with the bad guys. Walter Slezak is as always one charming, but dangerous villain. Jerome Cowan does well as the feckless and luckless oil executive and the best performance in the supporting cast is that of Percy Kilbride as a laconic cabdriver.

In fact Percy's the one who gets the best of Slezak. You should see Riffraff just to see how he does it.

Who does not love a good suspense/mystery? I for one really enjoy a good film noir especially when the opening sequence captures an audience's attention within the first five minutes without even uttering a single word. This is a film that you cannot leave the room for even a minute because if you do, you will certainly miss a key piece of this films centerpiece, which is a map containing the location of dozens of untapped oil fields worth millions of dollars.

There are plenty of evil doers trying to pull a fast one on each other in the hopes of netting themselves the one map that holds the locations of dozens of oil fields. But as tough guy detective Dan Hammer (Pat O-Brien) soon finds out while trying to protect a client of his named Hasso (Marc Krah) who happens to be a murderer himself from his other enemies one of which named Walter Gredson (Jerome Cowan) also pays Hammer to locate the map before anyone else can get their hands on it.

This is a cat and mouse game that also includes a gorgeous cabaret singer named Maxine (Anne Jeffreys) who is working incognito for her so called fiance Walter Gredson, but soon falls head over heels for the smooth talking, hard swinging detective Dan Hammer.

Besides the cat and mouse game I was impressed by Hammer's guard dog who always laid directly in front of Hammer's office doorway but yet the bad guys were neither intimidated by Hammer's dog, nor was Hammer ever forewarned by either a growl, bark or nary a whimper that there is trouble approaching Hammer's doorway. Some guard dog eh? He was adorable and this picture with its mystery and cinematography that reminded me of the next years more successful film (1948) Key Largo is well worth watching.

I give Riff Raff seven (7) woofs-woofs, its "howling" good action and mystery to keep you entertained

It seems that everyone in Panama has their eyes out for a missing map worth a fortune and P.I./con-man/fixer Dan Hammer (Pat O'Brien) is at the center of everything. Caught between the police, hoodlums, and gorgeous dame, Hammer's got his work cut out for him. But like everyone else, he has no idea where to find the map - even though it's hidden in plain sight.

What a nice surprise! Going in, I had no idea what to expect from Riffraff (or Riff-Raff or Riff Raff or however you want to spell it), but it's truly a wonderful little film. It's got a lot going for it. Frist, the cinematography is fantastic. Riffraff looks way better than its modest budget would suggest. Second, the acting is very strong. Overall, I'm not much of a Pat O'Brien fan, but here, he does a nice job. Anne Jefferys is more than his equal as the blonde love interest. Walter Slezak makes for the perfect heavy. And Percy Kilbride (of Ma and Pa Kettle fame) shines as the comic relief. Third, the direction is spot on. Director Ted Tetzlaff does a remarkable job with the film's nifty pacing. There are very few dull moments to slow things down. And that opening - wow! It must have been a gamble to film the first 10 or so minutes in silence, but it paid off. Finally, the writing is first rate. Riffraff has all that cool, fast-talking dialogue I've come to love in a film noir.

7/10

Anne Jeffreys, Pat OBrien, and Walter Slezak star in the search for a missing passenger. The passenger had a map of valuable oil reserves, but didn't land with the plane in Panama. Of course they question the only other passenger, who claims he knows nothing about it. Then they bring in the private eye (OBrien) to figure out what's going on. Expert viewers will recognize Percy Kilbride as "Pop", the taxi driver, who knows more than he should. He was Pa Kettle for MANY years. It's a decent plot, but everyone keeps getting knocked off, and now Dan, the P.I. is running out of clues. The rest of the story is very typical noir... private eye against thugs, private eye against the authorities. Keeps getting into trouble, keeps getting out of it. Obrien pretty much carries the show.

In Panama, a private detective is hired to find a missing oil well map.

I expect this little gem got lost in the 1947 crowd. Too bad, because the opening scene is a wordless tour-de-force. Catch that ominous looking lizard in the first shot, indicating the sinister events to follow. Then there's the rainstorm that sounds like the sky is exploding around the airfield. And finally, scope out the open cargo hatch at 20,000 feet, where you see three people but no parachutes. It's a tough act to follow, and truth be told, the story then settles into an entertaining, if unremarkable, private-eye adventure.

Nonetheless, there are so many nice touches lifting the narrative—the lazy guard dog, the down-and-outers needing help, Pop's belching old cab. But most of all, there's the stylish visuals, courtesy director Tetzlaff and cameraman Diskant. The compositions are especially impressive since they're artistic without being showy. And, of course, there's the great RKO team of D'Agostino and Silvera collaborating on the noirish sets.

I also like O'Brien in the lead. He sure doesn't look like the standard Hollywood dick. He's about 20-years too old, 20-pounds too heavy, and more than a little balding. Still and all, he can fire off the tough-guy banter with the best and make you believe it. Of course, having the lovely Maxine (Jeffries) fall headlong for him remains something of a stretch, but that's just Hollywood being Hollywood.

Talk about hiding in plain sight-- the map trick has stayed with me over the years. Speaking of the unusual, catch that brawl at movie's end. One thing for sure, I want Jeffries in my corner from now on. She doesn't just stand around while the hero gets bashed, even when a tricky bookcase bounces back at her.

Anyhow, it's a really good little RKO programmer and a good reason to keep prospecting these unheralded oldies for their hidden gold.

I was never taken much by Pat O'Brien, even though he appeared in many good movies since 1930. This is another good one, but not because of Pat O'Brien...

This was the first time I saw Anne Jeffreys, and for her alone it's worth seeing this film: without doubt, Jeffreys is a head-turner and heart-stopper. In reviewing her acting career, it's now clear to me why I have missed seeing her: soon after the early 1950s, she moved into TV for most of her career. And, as I have mostly avoided TV, well, there you go...

Anyway, to the movie...

I guess I'd call this type of story an adventure, a treasure hunt for black gold in the form of a missing map of oil wells in Peru, and a map that various nasty people are all trying to find. The reason for that lost map is finely drawn – on a dark and stormy night (okay, there are a few clichés along the way in this narrative) - with an exquisitely done sequence at the start, as the camera pulls back from a lizard at the edge of airfield in deepest Peru to reveal a waiting DC-3 and a small group of people trying to hear themselves think while the rain pours down on the tin roof of the terminal. Not a word is spoken, natch. Eventually, a passenger arrives to board the plane with another who'd been waiting. The plane leaves, clawing its way into the storm with the passengers sitting with the cargo. During the voyage, however, one of the passengers either jumps or is pushed from the plane – but the other passenger, Hasso (Mark Krah), now has the map...

From that point, you know there's more dirty dealings coming and, after telling his story to the cops, Hasso hires PI Dan Hammer (Pat O'Brien) to act as a bodyguard. Leaving Hasso at the hotel, Hammer visits Gredson (Jerome Cowan) who hires Hammer to find the map that Hasso now has, unbeknown to both. Hasso, being devious, hides the map in plain sight – a delightful ironic touch that's used to good effect throughout the movie, but would have been better, in my opinion, if the viewer had been kept in the dark also.

However...the plot thickens when Molinar (Walter Slezak), another treasure seeker, starts putting the squeeze on Hammer to get the map, and who roughs up Maxine (Anne Jeffreys) while trying to find it in Hammer's office where Maxine had been waiting. Maxine, you see, had wormed her way into Hammer's sight at the club where she sings – not only for herself as a singer, but as a spy for Gredson with whom she is romantically involved. Or is she? That's for Hammer to find out, along the way. Got the picture?

The denouement, of course, is fairly predictable but enlivened by Percy Kilbride as Pop, the taxi driver who shows how easy it is to run circles around unwary and over-confident crooks on the run. The whole movie is further enhanced by the dark/light cinematography that captures the Panama City scene so well (even though it's a Hollywood back-lot); indeed, the highly inventive chase at night between Hammer, on foot, and Molinar in the taxi with Pop, almost leaves you...well, breathless; and wondering whether Carol Reed chose to use the same techniques of dark shadows, narrow streets and running footsteps in The Third Man (1949) when Holly Martins (Joseph Cotton) chases Harry Lime (Orson Welles) in post-war Vienna. The similarity is quite distinctive, even down to some of the skewed close-ups and sharp camera angles.

And, finally, the dialog throughout is just right: sharp, full of innuendo, devious, and witty - and every bit as good as others you've heard in great thrillers and intrigues.

Pat O'Brien does a credible job – as always – but his attempt as a hard-boiled PI and fixer doesn't quite match Robert Mitchum in Out of the Past (1947) or the great Bogie in any one of his fine works from the 1940s or 1950s. However, I was looking at Anne Jeffreys most of the time anyway...

If you get the chance, see this one, for an enjoyable eighty minutes. Recommended for all.

Pat O'Brien, Anne Jeffries and Walter Slezak star in "Riffraff," a 1947 film from RKO.

In the beginning of the film, there is a wonderful scene showing a plane as a storm rages. Though there are two passengers in the plane, when it lands in Peru, there is only one, a man named Hasso.

Hasso seeks out a detective, Dan Hammer (Pat O'Brien), says he needs protection, and hires him. Another job come in right away when a representative of an oil company enters and hires Hammer to find a map -- it turns out that Hammer's client Hasso has it.

Hasso is killed, and Hammer runs up against Walter Slezak, a dangerous man who wants the map and will do anything to get it. Just about everyone is looking for that map.

The cinematography by George Diskant is very good, and the film is directed with precision and good pace by Ted Tetzlaff.

The acting is good, though for me Pat O'Brien has never been a leading man. He's miscast here. Anne Jeffreys is a knockout -- I met her last year when she was 92, and guess what, she's still gorgeous.

Great fight scene at the end of the film. Worth seeing.

I thought I'd seen just about all of the great, dark thrillers made in the late 40s - this little gem was a great surprise! It is well scripted, well acted, fast paced and commands the viewers attention. Walter Slezak is wonderful in his role as villain: fat, sweaty and greedy - what worked for Sidney Greenstreet works equally as well for Slezak. Slezak, who usually played villains and cads, had the knack of winning an audience's affection. Pat O'Brien is excellent in the role, if a little long-in-the-tooth to be courting a 23 year old Anne Jeffrys. Percy Kilbride, of Pa Kettle fame, is fun in his role as a placid yet cunning taxi driver, whose taxi would have been considered ancient, even in 1947. Definitely worth watching if you are a fan of this genre. As an aside, it's great to see that Anne Jeffreys is still very active in acting, and still very beautiful - nearly 60 years after this film was made.

Riffraff (AKA: erm, Riff-Raff) is directed by Ted Tetzlaff and written by Martin Rackin. It stars Pat O'Brien, Anne Jeffreys, Walter Slezak and Percy Kilbride. Music is by Roy Webb and cinematography by George Diskant.

Something of a little cracker is this one, a pic for those with a discernible palate of Private Investigator based film noir. Don't be misled into believing others when they write that it's minor noir, or borderline of such, it quite simply is a noir pic from what was a stellar year for that film making style.

Story is based in Panama and finds P.I. Dan Hammer (O'Brien) involved in the search for a map that shows priceless oil concessions. Sure enough there's others who desperately want the map, so in comes murder, beatings and a sultry babe.

Pic opens with the shot of a reptile at nighttime, sitting on a rock in the pouring rain, it probably would have been better to use a snake in the shot, but it certainly is a most appealing and appropriate film opening. From there the piece is a veritable feast of super photography and punchy dialogue. OK, so the plot story is standard fare, but the makers never let it drag things down, there's always a quip or a punch thrown to keep things perky.

Tetzlaff was himself a fine cinematographer (see the previous year's Notorious), and here armed with Diskant (They Live By Night/On Dangerous Ground/The Narrow Margin) in his corner the director makes hay. The plot set-up sequences in an aeroplane are moody visual supreme, and often when a scene calls for it - such as when Hammer is getting tortured in his office by Sleazak and his thugs - the noir style comes to the fore. There's wooden slats everywhere in this, wonderful!

Initially one can be forgiven for being sceptical at a portly 48 year old O'Brien playing a tough P.I., but he pulls it off, sharp of tongue and he throws a good punch does Pat. Jeffreys (Dillinger) slinks in for some initial sultry suspicion, and does well, even getting involved in the key fight scene, Kilbride is wonderfully wry as Hammer's unofficial aide, and Sleazak does what he does best, Weasle time!

Capping it off is the MacGuffin map, whose whereabouts at reveal is cheeky and something Hitch would have been proud of. Riffraff is a winner and well worth seeking out. 7/10

This typical film noir production has an unusual setting in Panama, although the fact that it's an RKO production means there aren't any exotic visuals or location shooting here. Instead this is a simply-plotted movie about the hunt for a missing map which has the location of oil highlighted on it. A private eye by the name of Dan Hammer (Mike's brother?) gets involved in the hunt and finds himself up against a criminal gang.

RIFF-RAFF boasts a memorable opening sequence on board an in-flight aircraft in which a guy goes missing. However, it soon descends into your typical mystery thriller, with a few hard-knuckle fights here and there but little to distinguish it from literally hundreds of others. While Pat O'Brien was a great character actor (such as when he played the priest in ANGELS WITH DIRTY FACES) he's an odd choice for lead and doesn't exactly seem to be the sort of guy able to handle himself. However, Walter Slezak is better as the sleazy villain and Anne Jefferys as the youthful love interest.

The story really did sound intriguing, even if it was not one of those ideas that knocked my socks off. Also intriguing was seeing Pat O'Brien in a lead role, and a sort of one that is very different and unusual for him (and on paper it doesn't seem like it suits him), when he was usually seen in supporting character roles. Walter Slezak was always effective at playing caddish and villainous characters, so it was fitting that he would be the villain here.

'Riffraff' is worth seeing. It is nothing out of the ordinary or mind blowingly amazing as an overall whole, it is also one of those films where the rest of the film doesn't quite live up to its opening. 'Riffraff' is still very effective and serves its purpose as a fun, atmospheric and suspenseful film quite well. Definitely deserves to be seen more, and even if it is not quite one of those must-recommendations from me it is recommended nonetheless.

It isn't flawless. There is not much ground-breaking or unique about the story, which is compelling and well paced but there could have been more tension and it doesn't maintain enough of the brilliant quality the opening scene has.

Did think that it loses momentum towards the end, both in pace and freshness. What happens in the final quarter is pretty familiar ground, with a denouement that is particularly easily foreseeable too early and lacks the suspense it should have done.

Having said all of this, there is a lot to like about 'Riffraff'. The best thing about it is the opening, which is tour-de-force brilliant in production values and atmosphere. Truly unsettling and shot absolutely beautifully and eerily. O'Brien does credibly in the lead role, though he is more comfortable in supporting roles, but even better are alluring Ann Jeffreys and especially malevolent Slezak as more interesting characters.

Furthermore, 'Riffraff' looks great. Especially the opening, with the often amazing photography standing out. The direction is solid and at ease with the genre, while the script is taut and suitably hard boiled. The music suits the atmosphere well, an atmosphere that is lively and suspenseful enough.

All in all, not great but good with a lot of fine things. See it especially for the brilliant opening, which the rest of the film doesn't quite match. 7/10.

A tough and unconventional private eye in Panama searches for a map revealing the location of a lucrative collection of oil fields after the courier carrying them for the oil company is thrown (or falls from) a plane. Pat O'Brien gives an unconvincing impersonation of Humphrey Bogart in a movie that surpasses it's B-movie roots while shamelessly ripping off the basic plot of The Maltese Falcon. Director Ted Tetzlaff draws on his experience as a cinematographer to create a wonderfully evocative Noir atmosphere., while Walter Slezak makes an enjoyably sinister - if largely ineffectual - villain. It's also probably the only movie in history to end with a dog's eye peering through a keyhole...

It's a dark stormy night. A cargo plane leaves Peru with two passengers on the way to Panama. When it lands, there is only one. Charles Hasso claims the man jumped despite trying to stop him. The missing man had valuable maps of oil deposits and everybody is looking for them. Hasso hires private eye Dan Hammer (Pat O'Brien) for security and soon enough, the search is on.

This starts with a deafening lack of dialogue. It is a great opening. I would call it an all-timer, but the movie doesn't deserve that. I do love Dan Hammer (what's with his name) and his mercenary ways. Pat O'Brien does a solid job. This is a little above average although the opening suggests something much more.

(1947) Riff-Raff/ Riffraff CRIME DRAMA

It opens with one guy standing around underneath a cockpit waiting for a plane to take off. Coming along with that person is supposed to be another passenger. By the time he shows up, he was carrying with him is a briefcase. While each one of them are sitting by themselves in the cargo plane, one of the two men spots a baby chick out of it's group, and he picks it up and puts it back with it's other baby chicks. Then the focus goes toward the pilots when he sees the signal of the door has been opened, and he heads on back. The guy who picked up the baby chick and placed it back with it's goslings then claims the other passenger had jumped. By the time plane lands, we find out that it flew from Peru to Panama and as the passenger is arriving to get his luggage inspected, viewers then notice that the briefcase that used to belong to the other passenger who allegedly jumped has now belonged to the new passenger we find out his name Charles Hasso (Marc Krah). Waiting for him there is the head of the secret police, Lt. Rues (George Givot) and he cross examines Charles and he informs him he is staying at a hotel. But before he goes there, he first stops by to see the star of the movie, Dan Hammer (Pat O'Brien) wanting his services as a bodyguard for a day or two. And while he was changing into his new clothes, he then takes a map out of his briefcase and pins it on to the board with other papers. During this conversation, a phone call disrupts them to go and see this other person instead. Dan's driver, Pop (Percy Kilbride) drives both of them to drop Charles to the hotel, before he sees oil executive, Jerome Cowan (Walter F. Gredson) and his partner, Domingues ( Jason Robards)

There was this one fight sequence that looked kind of cool was when one of the goons throws a knife, and the star Dan grabs a stool and that is where the knife ends up hitting instead of it's intended target. Some of the scenes is predictable but other than that, it is actually quite entertaining.

Pat O'Brien is Dan Hammer, private eye and all-around fixer in Panama. The problem is, Pat O'Brien isn't a leading man. What he lacks in the looks department wouldn't matter if he was more versatile. But he's a character actor and he played the same Irish character over and over, sometimes a cop, sometimes a priest, always a second banana.

In this movie, every sentence he utters comes out the same, whether he's talking to the affably violent thief (Walter Slezak), the police lieutenant (George Givot), the pretty blonde (Anne Jeffreys), his mixed-breed dog, or the taxi driver (Percy Kilbride) whose hard-starting, backfiring Buick is played for comedy that doesn't work, though the backfire punctuates some scenes nicely.

Director Ted Tetzlaff was a DP for most of his career, so I have to think the opening was his creation. It's a moody, foreboding scene in luminous black-and-white sans dialog, with monsoon-level rain falling at an airport. The camera almost sneaks up on the pilots and men waiting around until the second passenger arrives and the plane and plot get going. En route to Panama with a cargo of chickens, one passenger, Hasso (Marc Krah), throws the other out the door to his death after stealing the MacGuffin-- a treasure map of oil deposits in Peru which more than a few people are after. In Panama, Hammer is hired by Hasso to protect him, and the plot thickens when Hasso clips the map to some other papers in Hammer's office without telling him. Only the killer and the audience knows where the map is.

The dialog is crisp if not hard-boiled, but the humor falls flat, e.g., Hammer proposing marriage to the old cabbie. All the familiar noir notes are sounded-- girl singer, seedy locations, lounge bar with drinkers and smokers, all of them riffraff, as promised in the title. It's a short 80 minutes and includes scenes like the extended beating Hammer suffers that gave me time to imagine how much better it could have been if one of O'Brien's contemporaries had been cast instead. Robert Montgomery maybe. Or Gilbert Roland. George Brent or James Dunn, if they wanted Irish. I stopped when I imagined Paul Lukas, who had just finished a noir, "Deadline at Dawn," because I was just punishing myself while O'Brien was still on screen.

For the sake of restraint I shy away from awarding 'tens'. But Riff Raff is so well made and keeps with the beat, that it is a perfect piece of cinematic work. I was on the telephone with my girlfriend (we were arguing about something) and had the television on mute and was impressed enough with the camera work (not the argument) that I just had to record the movie on the next go-around. This is the movie that would go in a time capsule so well that it captures the genre of movie it represents. This film is the one that made me a Walter Slezak fan. If he is in it, I'll watch it (you mean he actually has a fan base?). It was actors like Slezak [and John Qualen, Peter Lorre, Thomas Gomez, Mervyn Johns, his daughter Glynnis Johns, Percy Herbert, and many more] that made movies like this so effective. It is not a good VHS copy, but until I get a better one, this will do just fine. By the way, the telephone girl and I will celebrate our thirteenth anniversary next week.

It's a breezy, almost campy film noir set in Panama in 1947. The film opens on a cargo plane from Peru to Panama that has two passengers and a load of baby chicks. One of the passengers does not land with the airplane, but his briefcase, holding a map of wildcat oil wells, does. The surviving passenger, Charles Hasso (Marc Krah), hires jaded middle-aged private detective Dan Hammer (Pat O'Brien) for protection. The film then follows the efforts of multiple people to locate/retain the map. They include villainous entrepreneur Eric Molinar (Walter Slezak), oil company officials Walter Gredson (Jerome Cowan) and Mr. Domingues (Jason Robards Sr.), and Gredson's girlfriend, Maxine Manning (Anne Jeffreys). Hammer's taxi driver, Pop (Percy Kilbride), provides comic relief.

The opening six minutes with no dialogue provide excellent, menacing noir. Then, it turns to a flippant Hammer who has contacts with everyone in Panama and quips for every occasion. The story doesn't match the initial quality, and it can't seem to decide if it's truly noir or something lesser. Pat O'Brien does not project a menacing private detective; his persona doesn't match the role.

Pat O'Brien is front & center in this film noir from 1947. In Peru, O'Brien is an enforcer for hire who gets a job to escort a recent traveler, Marc Krah, for a couple of days. What O'Brien doesn't know is that Krah & another man on the flight over ended up jumping off the plane, at least that's what Krah attests to. Dropping Krah off at his hotel w/the agreement to meet him later, O'Brien departs but when he comes back to fulfill his promises, he finds Krah dead. Into this mix is a trio of oil men who hire O'Brien to find a priceless map of oil wells Krah was trafficking which they want badly which sends O'Brien on a series of escapades to find the prized document before the bad guys get their clutches on it. O'Brien, who was typecast playing the coach or the saintly neighborhood priest for most of his career, stands out here in a role which definitely put a win in his column w/a breezy yarn for him to inhabit in quite winningly.

This movie is a live action film noir cartoon. It's fun reading the other reviews because most didn't get this movie at all. It's tongue in cheek, a send-up of the genre. At least some of those in on the movie must have caught on. Pat O'Brien plays the part of Dan Hammer, shady and cynical all-around fixer man in Panama City. He looks like a big, lovable umpire who's had many to many hot dogs for lunch, dressed in all white like an ice cream man. I assume he got the role because his doppelganger, William Bendix was unavailable. His smart talking lady friend is Anne Jeffreries, looking very svelte and totally not his type but that's part of the humor. There is a properly convoluted plot with murders and untrustworthy police along the way. It's a good opportunity to watch Walter Slezak who is always a welcome addition (he had an amazing acting career.) The movie has not the slightest taint of realism to this reviewer, so enjoy it with plenty of popcorn. The folks that take this movie at all seriously have the viewing comprehension of your average 10 year old, but I digress. Enjoy it, it's not a classic.