Coincée

Lloyd Hallett (Robinson) has developed a case against the murderous Mafia kingpin Benjamin Costain (Lorne Greene, in his second film) to have him deported, because they can't get him indicted for any of his other crimes. Trouble is, all his other witnesses who could have testified against Costain have been killed. Sherry Conley (Rogers) who is serving a prison term, is their last chance to get him deported. She is offered a carrot - commutation of her sentence and a comfy hotel room with food much better than she had in prison. Will that be enough to get her to go through with testifying? If she lives? Watch and find out.

Rogers is excellent as an aging model/gangster's moll who was too softhearted in the past, and is paying for her decisions. Whether she's being sarcastic or dodging bullets, Rogers gives one of her best performances.

Robinson is matter of fact and businesslike in his role. Hallett's job is his life, and Robinson gets that across to the viewer. It's close to the role he played in "Double Indemnity" (1944), but Robinson makes the cardboard role human.

Brian Keith is very good in his role as the Fed who's at first disgusted with Sherry, then starts to care for her.

Lorne Green is one great menacing scumbag. Who knew the future wise papa of the Ponderosa had it in him? The shadowy cinematography is by Burnett Guffey, who also did the photography for "Bonnie and Clyde" (1967). The taut script was by William Bowers. Absolutely a hidden gem of noir, done by that economical studio, Columbia, which was full of good surprises such as this one, during the studio system era.

Ginger Rogers, who was usually more glamorous in her movie roles, invades territory normally occupied by Claire Trevor or Veda Ann Borg. She's a good time gal who happens to be on a pleasure cruise with mob boss Lorne Greene and Greene has smuggled another gangster into the country. U.S. Attorney Edward G. Robinson is seeking to deport Greene.

Greene's enemies have a habit of ending up dead. And our story begins with conflicted cop Brian Keith assigned to protect Ginger as Robinson tries to convince her to testify.

Rogers's career was on the downside here, but she's still a dynamite presence on the screen. Robinson and Keith are solid here and who would have thunk of Ben Cartright as a mobster.

Nice film, tightly edited, not a wasted frame in it.

Ginger Rogers' performance (straight out of "Roxie Hart") makes this film. Others have found Ms. Rogers to be too old for the film. I think that the fact that she is a bit "past her prime" adds to her character, which has (let's face it) been "around the block" a few times. She and Brian Keith (doing his patented tough-as-nails copper) make a potent team. It is a pity that they did no more work together. The film itself is a strange mixture of Rogers' comic sass and Karlson's brand of hard-hitting melodrama. Ultimately, the film is sunk by an unbelievable plot contrivance that leaves the audience feeling betrayed. However, the performances (including, of course, Robinson's) make this a worthwhile experience.

Talky adaptation of Leonard Kantor's play "Dead Pigeon" stars Ginger Rogers as a wisecracking jailbird sprung from the pokey by police so she can testify against ruthless mobster at a high-profile murder trial. Somewhat confined, claustrophobic piece really needs Ginger's overacting to kick it into gear, and she's more than adept at chewing the scenery. The star, looking great in a short, ducktail bob, manages to create sparks playing opposite everyone in the picture except for Brian Keith as troubled cop Vince Striker (they just don't click). Drably filmed, mostly underwhelming, but Ginger's fans might want to take a look. ** from ****

Ginger Rogers is good as the tough-talking woman sprung from prison to testify in a trial. What a strange career she had! Best known for her movies with Fred Astaire, she was also a delightful comedienne. She did some serious work in her prime, winning an Oscar for an only-OK soap opera. But she's good in "Primrose Path." She turned tough in many of her fifties outings, and she looked tough too. Here she has sort of a pixie haircut that doesn't quite work with the character and isn't flattering to her. But she's excellent.

Edward G. Robinson, billed second to her, is superb. He always was. That man was incapable of giving a bad performance, no matter how oddly cast he might have been at times. Brian Keith, whom many know for sunny outings in later television, is exceptional as a very tough cop. He really is the focus of this movie, though the Rogers character is the lead.

Who in the world was Lucy Marlow, who got fourth billing? It says prison girl. Hmm. The woman playing the matron, Katherine Anderson, is important to the plot. She is very touching as well.

Lorne Green is another actor who played some mean hombres before he became the benevolent dad on TV's "Bonanza." His character is less nuanced than the one he plays in "Autumn Leaves." But he does well by it.

Phil Karlson was an excellent director, who had some of the nastiest, darkest, roughest noirs of the fifties under his belt. This is among the best of them.