JohnHowardReid Not one of Bogart's best roles. The screenwriters have tried to duplicate The Big Sleep by handing him some flip, cynical dialogue, but the quality of the writing-in plot and characterization as well as the dialogue-is distinctly second-rate. Count the clichés! The storyline soon becomes obvious to even the most inexperienced armchair detective. Furthermore, it's none too convincingly constructed, thanks to a clumsily introduced flashback and a none too subtle use of props (especially the flame bombs). Although the characters are forced to dance to the turns of the melodramatic plot, Lizabeth Scott manages to give an unusually finely shaded performance, while Morris Carnovsky and Marvin Miller enact their conventional stereotyped villains with more than routine fervor. George Chandler makes the most of his two brief scenes, and we enjoyed Charles Cane's acid portrait of a cynical homicide lieutenant. Wallace Ford's role is small and Bell's mercifully brief (he's forced to mouth the most embarrassingly inept dialogue in the film). Bogart's performance tends to be superficial and even mechanical, but even a cut-price Bogart is still a joy to watch. Cromwell's direction certainly makes a stylish impression on the proceedings, but the meanderingly unconvincing plot ultimately defeats his admirable attempts to turn the film into something really special. Nonetheless he does impart such an atmosphere, an ambience and a pace, that only a few of the movie's obligatory romantic scenes could be described as irredeemably dull. Other credits include beautiful photography, a catchy song, and attractive gowns for Miss Scott. On the other hand, more astute trimming would help smarten up the movie and disguise at least some of the screenplay's shortcomings. What we have here is a "B" property, dressed up as an "A".

robert-temple-1 This is the film in which Lizabeth Scott probably sizzles the most, and it may be her finest performance. She plays a femme fatale who oscillates between being good and being bad with the regularity of a sine wave. One moment she is looking at Humphrey Bogart with the fragility and devotion of a child, and the next she is pulling a gun. As Bogart says in this film, he doesn't trust women, and they should just 'concentrate on being beautiful'. The direction by John Cromwell is superb, and this is one of his best films ever. The film does not have the psychological and emotional profundity of IN A LONELY PLACE (1950, see my review), which Bogart made three years later with Gloria Grahame under Nicholas Ray's direction. But then it is not that kind of story, it is more of a mystery thriller. The screenplay jointly written by Oliver H. P. Garrett and Steve Fisher is truly brilliant, with crisp and witty lines, fast-paced dialogue, and an ingenious construction whereby verbal asides and small details come back into the story meaningfully at a later stage. That script was truly worked over many times and refined like caster sugar, and it has an impeccable sheen. Morris Carnovsky and Marvin Miller between them, as the two baddies, cover just about every base in criminality. The story is one which was bound to resonate with audiences at the time, because it concerns two wartime buddies from the paratroopers returning to America to receive medals for heroism. But, as happens in all such film noir movies, they return home to trouble and a void. As they all discover quickly: 'things have changed'. Lizabeth Scott as the dream girl who kept Bogart's buddy going with memories through the War, has one reunion with him and soon he is dead. This is not looking good, and Bogart decides to investigate. He too falls for Scott, whose siren charms prove irresistible, no matter how hard he tries to remain hard-boiled. There are many twists and turns. Did she or didn't she? Is she or isn't she? Who really did what to whom and why? Where does all the guilt really lie, and what guilt is that guilt anyway? I cannot reveal the ending, but what I can say is that the final shot in the film is a true stroke of genius. They don't write 'em or make 'em like this any more.

vincentlynch-moonoi The first thing you may notice about this film is that the film print has not been well preserved...it is far from crisp. And, the production values do not appear to be high to begin with...such as when you see those tall mountain in Florida!!! But, this was a Columbia film, not Bogie's usual higher-budget Warner Brothers pic.The second thing you may notice about this film is something that with me always gains a film a few points -- it's something somewhat different than the usual plot. Oh, definitely film noir, but a different type of story.And, the basic story is this: Bogart and William Prince are returning to the States and about to be decorated for their war service. When Prince discovers that, he immediately disappears at a train station. Bogart, the loyal friend, decides to track him down and find out why. He ends up in the imaginary Gulf City, Florida (there is a Gulf City, but in reality it has a population of under 100 people). Prince has been there, but has disappeared again...only to be found burned to death in a car. As Bogart tracks things down further, he becomes entangled in a murder mystery from the past in which his friend was directly involved...as is a racketeer and the sultry Lizabeth Scott. Who is the guiltiest? The racketeer or Scott? Bogie finds out the hard way, and there are some neat twists along the way.Humphrey Bogart is fine here...the good guy, but not so good that he can't take care of himself...although he gets beat up along the way pretty well. It's a perfect role for Bogart. I've always enjoyed Lizabeth Scott, though I like her most in the Martin & Lewis film "Scared Stiff". This was only her third film, but the second to put her into a sort of film-noir persona. She's good here, but not yet at her best. It's noted by many that her role here is reminiscent of Lauren Bacall, which it is, although I think this was the persona Scott had in most of her films, not an obvious attempt to imitate Bacall because it was a Bogart picture. Morris Carnovsky is good as the racketeer; he did not often have such important roles in films. We don't really see much of William Prince as Sgt. Johnny Drake/John Joseph Preston, but after all, he is killed off pretty quickly in the film. You will enjoy seeing Marvin Miller as the second tough guy; Miller was most famous for his role in the television series "The Millionaire". Wallace Ford is around for a small part as a safe-cracker.This is a good film and I enjoyed it...although not enough for it to end up on my DVD shelf.

calvinnme Humphrey Bogart's performance in this film is what makes it rise above a 5 or 6. Columbia is obviously trying to replicate the elements of the types of films that Bogart did so well in the 1940's over at Warner Brothers. The oddest thing about this film is Bogart's dialogue, especially during his voice-overs. At times it comes on so strong as to approach a parody of Bogart as Bogart. If any other actor were speaking this dialogue it might evoke laughter if not confusion, yet Humphrey Bogart makes it work.Here Bogart is paratrooper Rip Murdock, just recently home from the war with Sergeant Johnny Drake, who is to receive the Congressional medal of honor. However, when Drake disappears right before the ceremony, Murdock gets permission from his superiors to find out what happened to his usually reliable friend and fellow soldier. Murdock follows his buddy's trail to Gulf City, a bar and gambling joint there that is run by a mobster, the girl that stole Johnny's heart - young and beautiful - and wealthy - widow Dusty Chandler (Lizabeth Scott), and a trail of clues fraught with mystery and murder. It's rather obvious that Lizabeth Scott is Columbia's answer to Lauren Bacall in this one, and that gangster Martinelli and henchman Krauss are attempting to duplicate the types of roles played by Sydney Greenstreet and Peter Lorre in Bogart's successful Warner pictures. Although these three can't begin to match their Warner counterparts, and at times Scott painfully overacts, they do lend enough credible support to give Bogey a framework in which to play an interesting character in a rather intriguing mystery that has plenty of atmosphere.