Two of a Kind

It's a nifty premise that fails to fulfill an early promise. Seductress Brandy (Scott) lures wiseguy Lefty (O'Brien) into a million-dollar fraud scheme. All it will cost him is time in a swanky beach house and half a finger. But that's okay because he'll still have nine and a-half left, plus a big inheritance from a wealthy old couple. Then too, if he gets cold feet, slinky Brandy is always there to warm him up. Mastermind Vincent (Knox) has hatched what looks like a sure thing.

However, I'm with reviewer bmacy. After that promising start, especially with the slamming car door, the movie takes an irretrievable tumble. And that's when Terry Moore's loopy overacting hits the scene. Catch that night time set-up where Lefty breaks into Kathy's (Moore) place and she squeals with delight over what appears a potential rapist or killer. Sorry, but that's about as poorly written and ill conceived a scene as I've witnessed in some time. And who was it who decided to insert Lefty's face-making as comedic accompaniment to Kathy's description of him. It's not only unnecessary, but unsubtly attacks the whole surrounding mood. As bmacy points out, by the time the movie recovers from such ruptures, it's already too late.

At the same time, director Levin appears to have little feel for the material, his career being mainly in light comedies. As a result, the story simply unfolds in pedestrian fashion without any distinguishing touches or development. As a result, and despite its two noir icons, the 80-minutes comes across as more disappointing than gritty crime drama.

This con involved a lot of research and putting a lot of pieces in to place to go after a 10 million dollar inheritance of an elderly couple who lost their son at the age of three. It falls apart at the last minute and one of the gang can't give up on the plan...thinking murder is the answer. At least some of the rest of the con artists draw the line at murder.

Lizabeth Scott is beautiful in this light film noir and plays exceptionally well alongside Edmond O'Brien. Lizabeth Scott reminds me a lot of Lauren Bacall, they both really knew how to give a sultry...if not beautifully cold face.

Terry Moore plays a delightfully screwball niece that likes to reform bad boys. Great character that was fun to watch...but maybe a little outside of what I would normally expect in a true film noir film.

This came over as a film noir with a little screwball and a light ending. If that is your thing this might be for you!

"Don't forget to come over, Snow White."-Lefty.

A 1951 film noir involving a lengthy grift being pulled on a rich couple. Lizabeth Scott starts the film off looking for a particular military man who's fallen off the grid who was aces as a soldier but his demeanor left something to be desired. Tracking the man down, played by Edmund O'Brien, at a bingo hall, Scott entices him w/the long con; an elderly married couple (who's wife is in a bad way) had lost their son & although presumed dead they hold out hope he may turn up whereby he'll leave him 10 million dollars in his will which Scott & her partner, played by Alexander Knox, will then split. The first hurdle, which O'Brien agrees to, is to chop off a part of one of his fingers (which he does when Scott slams a car door on it!) since the boy had this happen to him when he was younger & then settle into the machinations of the game, meeting the parents & laying out the possibly excruciatingly long stretch to see if the caper will come through w/O'Brien sticking around since he & Scott have connected romantically while Knox (revealed to be the couple's lawyer) bides his time waiting in the wings. I never bought the hook for this film & frankly O'Brien isn't quite convinced as well as his determination to complete the deal starts to waffle towards the film's end leaving the viewer w/a perplexed 'huh' on their face as we see if this long bet will pay out.

The dialog is splendid, so is the acting, Lizabeth Scott more sparkling with her beauty and intelligence than ever, Edmond O'Brien is always a reliable ace card, and Alexander Knox for once is the bad guy, but what is all this really about? Is it a criminal comedy, an aborted noir without any crime, a satire on all the films of racketeering business, a twisted romance with too many lovers and relationships involved with each other, and yet it is fascinating all the way, and in the last 15 minutes things start to happen for real, everything being turned upside down, when all the cards of the game suddenly are exposed and everyone finds himself a loser. It's a witty intrigue with a lot of twists to the tricky and intelligent set-up, which seems absolutely perfect, until someone changes his mind. It looks really bad from a moral point of view all through, but by an odd turn honesty upsets the racket and love conquers all. In all its criminal intrigue with a perfect perspective of a noir, it is actually a comedy of romance heavily spiced with all the elements of a very crooked noir design, but with a very satisfactory outcome.

It Seems that the Sharp, Dark, Rough World of Film-Noir was just too Much for the Newly Emerging Conservative 1950's.

The Forces that be were Out to Tame Film-Noir and Morph the Style into Police Procedurals, and Other Easily Digested Movies "Sweetening" the "Sour".

Case-in-Point, "Two of a Kind", this one had All the Signs of the Genre .

But were Proven a Slight-of-Hand, sort of, or a Mis-Direction.

Starring Noir Icon's Edmond O'Brien and Lizabeth Scott and a Poster that Shows Not a Hint that it will Take a "Detour" to Comedy, and a Light-Hearted Approach as the Con-Game is Played-Out.

When Terry Moore's "Screwy" Character Shows-Up, it No-Longer even Tries to Maintain its Bona-Fides as a Film-Noir.

It has One Extremely Disturbing Scene, "The Car-Door", but the Rest of the Story is so Breezy and Aloof as to be Distracting to Anyone who was Expecting a More Serious, Gritty Story.

Overall, it can be Enjoyed as a Light-Crime Con-Game with Good Actors and Good Cinematography.

The Genre of Film-Noir, to This Day, is Exploited and the Label is Slapped on Movies that Just Don't Cut-It. The True Essence and Meaning of the Descriptive has been Lost Almost Completely.

This Whole Thing Started Around 1950-51 and is Still Around Today.

For Film-Noir Purist, be Prepared for a Let-Down.