Alibi meurtrier

A grimly determined homicide detective tries to nab a suspected cop-killer, even after getting kicked off the force. Although there are some implausible plot elements, this is a pretty good noir. It's anchored by stellar performances from Sterling Hayden (in a part quite similar to his role in CRIME WAVE, from the same year) and the great Gloria Grahame (whose character is rather suspiciously close to her part in THE BIG HEAT, from the previous year). Gene Barry is very good too, although I can't say much about him without spoiling things. The film takes an unpredictable second act twist, at least it was far different from what I was expecting, which was more of a LOOPHOLE scenario. Grahame's entrance is strange -- she looks a bit awkward doing the nightclub singer shtick, but perhaps it suits her character to be uncomfortable in that position. The story is paced very well and has some brutal scenes, fine cinematography and generally good dialogue. Maybe not one of the greats, but definitely worth checking out, especially for Grahame fans.

This is worth watching because Gloria Grahame is in it. But otherwise it is a rather disappointing noir. Gene Barry certainly manages to be very menacing and volatile as the bad guy. Sterling Hayden is rather wooden as the tough cop. But Gloria Grahame, though she is not particularly good at shimmying when she sings, keeps our attention with her pouty lip, her doubtful look, her slumbering voice, her worldly-wise fragility, and all those other qualities too numerous to mention which are irresistible about her. So consider this 'a minor Gloria Grahame picture' and it is at least able to entertain, if not to enthrall.

I'm not sure how Universal slipped this one past the Bureau of Consumer Protection, but they did. Despite the title's bold claim, this 1954 crime drama features absolutely no nudity or alibis - clothed or unclothed. On the plus side, it does co-star the deliciously sexy Gloria Grahame, but on the minus side it's a very poorly written part which does nothing to showcase her particular talents. She plays Marianna, a saloon singer in a sleazy town on the US side of the Mexican border, who manages to get herself involved with both an ex-cop (Sterling Hayden) and the suspected cop-killer (Gene Barry) he is obsessively pursuing. Even by the often convoluted standards of film noir (which this movie aspires to be) plotting, the story makes little sense, but there's little else to distract the attention. Hayden sleepwalks through his part with the air of an actor focusing on his paycheck rather than the script's obvious flaws, while Barry struggles unsuccessfully to create some sort of plausible whole out of the many inconsistencies in his character. In one scene he's a baker and family man wrongly accused by bullying detectives of murdering an officer, and in the next he's a big shot gangster (without a gang or criminal purpose) on the Mexican border, splashing the cash, roughing up the locals, and inflicting his particularly aggressive brand of lovin' on Miss Grahame. Quite how or why he leads this double life doesn't trouble director Jerry Hopper. In fact, very little seems to bother Mr Hopper. Not the implausible plot, the waste of talent (Grahame and Hayden) or the film's slapped-together-on-a-shoestring feel. NAKED ALIBI was shot in large part on the Universal back-lot and it looks it. The town square will be instantly recognizable from countless other movies made by the studio, while the border town's back alleys and loading docks are littered with those empty wooden crates one only ever sees in such large numbers in low budget movies where they're trying to fill in the space without spending money on props. Production values are so low that NAKED ALIBI plays more like a lackluster 1950s TV drama than a big screen entertainment. If Hopper thought he was contributing to the often stylish and memorable canon of low-budget film noir thrillers which many studios turned out in the early 1950s he was wrong. The confused plot, unimaginative camera-work and cast going through the motions put paid to that. For the Gloria Grahame completists among us this is a must-see, for everyone else there's plenty of other, much more rewarding things, you could be doing with your time. Check out more of my reviews at http://thefilmivejustseen.blogspot.com/

Two great film noir actors - Sterling Hayden and Gloria Grahame - star in this movie. Hayden is excellent as a tough cop bound-and-determined to get a killer than has been turned free (Gene Barry).

Barry is very good as the criminal who falsely claims "police brutality." In that respect, this movie was ahead of its day as that term became widely used two decades later.

Overall, this a good film noir that's a bit different from the normal fare, but certainly not different when it comes to great noir photography and good suspense.

Where is the DVD of this film? (In fact, where was the VHS, in the first place?)

This is top-notch noir. The queen of the femme fatales, Gloria Grahame is perfectly cast in this sleazefest. Even the miscast Gene Barry (Bat Masterson, War of the Worlds) as a really bad guy is very good in the film as well. It was amusing to see Chuck Conners (The Rifleman, The Big Country) as a cop; a role he was well-suited for. He was a much better actor than baseball player.

The story is pretty good with one exception; why would you hold on to a gun that killed a cop if you were wealthy? The escalation of violence and the gruff Sterling Hayden (perfectly cast) harassing the suspect from the beginning of the film without let-up is perfectly logical, although not legally sound. The film is in the top echelon of this genre; don't miss it.