C-Man

I did not know this movie at all and I must admit that it is not bad at all but forgettable. Just as the other films directed by this Joseph Lerner, for instance GIRL ON THE RUN. But it is worth watching, after all John Carradine and Dean Jagger contribute a lot to the story, but they don't steal the show either. It is not a gritty.actionner, and anyway not an actionner at all. This is just an acceptable time waster, only destined to movie buffs in search of a rare item to watch. Even directed by a Joseph H Lewis or a Budd Boetticher, the result would have been the same - a bit better though - because there was nothing exceptional to take from such a story.

Customs agent Dean Jagger (Cliff Holden) goes on the trail of a necklace and a killer. He is the C-Man.

The film moves along at a quick pace and if you just go with it, it carries you along. Unfortunately, it is a little confusing at times and because the picture quality has deteriorated, some dramatically filmed sequences are confusing instead of effective. John Carradine (Doc Spencer) plays a drunkard - it's his look that carries it off for him, not particularly his acting, although he probably wasn't acting! The soundtrack alternates between the over-dramatic and the jazzy art-house cool that suggests experimental film.

There are some very fake punch-ups that run alongside disturbing violent incidents. Make sure that your bed-knobs don't unscrew! The night club scene is also slightly embarrassing - terrible song, unrealistic audience and some poor acting.

Overall, the film is watchable - it should be better, though. Maybe a re-make?

Dean Jagger who the following year would get the Best Supporting Actor Oscar for Twelve O'Clock High was still sporting a toupee when he did this small independent noir film playing a US Customs Agent. Jagger is put on a case to find the killer of a fellow agent and friend. And as we know from The Maltese Falcon when a partner gets killed you're supposed to do something about it.

There's a gang that's smuggling expensive jewelry into the USA and using innocent women not in on the scam. In this case it's Lottie Elwen from the Netherlands. It's an interesting gimmick which I'll let you find out for yourself.

The film was shot entirely in New York on location and it has the same look and feel as The Naked City does. Harry Landers who later was on Ben Casey as a doctor is great as the gang's muscle. I wish we saw more of John Carradine as a disgraced doctor who is part of the smuggling scheme.

Best of all is Edith Atwater who later would play matronly and mother figures. Here she's one evil dame.

This one's a sleeper check it out.

The reviews for "C-Man" are mostly very positive. However, I just saw it as a cheap little film with a ton of plot holes.

When the film begins, Treasury Agent Cliff Holden (Dean Jagger) learns that his good friend and fellow agent had been murdered. He vows to find out who's responsible and bring them to justice. Cliff blindly blunders from one situation after another where he SHOULD be killed but again and again he inexplicably survives...and there is no logical reason he isn't killed. Any film that relies this much on dumb luck and dumb criminals is second rate...and this one sure is. Additionally, some of the acting and cinematography is very second rate. In fact, nothing in particular stand out in this one, though Dean Jagger's toupee is very nice. Otherwise, I wouldn't bother with this limp little thriller that offers few thrills.

Here's one of those B-movie nuggets that makes sifting through the dregs worthwhile (quite appropriate for a tale of jewel smugglers). I'm sure it's exactly the kind of edgy, low-budget genre-piece that inspired Godard and Truffaut to create "Breathless" and "Shoot the Piano Player".

Like its near namesake "T-Men", the heroic semi-documentary frame limns a brutal, cynical noir with striking location shooting. The narrative keeps throwing us curveballs, and the tight, off-kilter framing, low-key lighting and nervy editing emphasize the randomness of the violence and the desperation of the denizens of this demimonde. Most arresting is the frantic free-jazz score, presaging Miles Davis's improvised work for "Lift to the Gallows".

The characters are idiosyncratic and played with verve. Like several other late noirs, there is an undercurrent of homosexuality among the henchmen, and John Carradine's quack doctor is addicted to Benedictine, of all things. A great, offbeat, late-night view.