Never a dull moment as Anthony Mann directs this story about U.S. Treasury men attempting to break up a counterfeiting ring. It plays out in a pseudo-documentary style, as do many films of the era. An excellent film noir with outstanding cinematography by John Alton and an appropriate score by Paul Sawtell. Big bucks were spent on this film. Well over five million in 2015 dollars, the equivalent of 500 grand in 1947. Within the same year and budget, Railroaded is nearly forgotten. Mann certainly redeemed himself for that earlier effort. Distributed by Eagle-Lion Films, this production cleaned up at the box office. The film is not flawless, but close. One script fumble is when a federal agent comes down hard on a shop owner for not recognizing counterfeit bills. This, after the film established that it takes an expert, under a magnifying glass, to know the difference between real bills. Another takes place during the climax. After establishing a hitman's cold, vicious behavior, he becomes a spineless weasel in the end, scared of being shot at. But I digress.
Navigating through background details throughout most of the film is the narrator, the definitive and commanding Reed Hadley. After an informer is murdered, the Treasury Department chooses Dennis O’Keefe and Alfred Ryder to go deep undercover. Each has a myriad of details to memorize so they can blend into the crime underbelly without suspicion. O’Keefe is first-rate in a standout role, leaving his earlier music or comedy films behind. Both are vouched for, and all goes according to plan, for a while. The steam room scenes with a bloated, sweating Wallace Ford under a waist towel are creepy in their own right. O'Keefe visits several in a row after a tip suggests Ford frequents steam baths. In the end, he is so zapped of strength he can barely stand, noting he lost several pounds before finding the health hypochondriac. Ford is known as the "Schemer" for getting things done in secrecy and keeping evidence that could bring down a lot of the counterfeiters if he is threatened. O'Keefe and Ryder give him a hard time, spreading the rumor that the boss is on to him.
There are edge-of-your-seat moments: in transit with Ford, Ryder is spotted by a friend who uses his real name. To make matters more intense, she is with Ryder's wife. The two meet face to face. Covering for his undercover work, she says, "You are mistaken. My husband is taller and more handsome." Ryder is saved, but Ford is suspicious. But none more intense than when O’Keefe witnesses his partner's murder and cannot do anything about it without blowing his own cover. Few were as heartless in film noirs as hitman Charles McGraw. Always on the edge of volatile behavior with a voice that could, if one got close enough, leave abrasions on your face. The "Schemer" learns too late about undermining his superiors. McGraw locks Ford in the steam bath under maximum heat.
Leading up to the climax, O'Keefe is highly suspicious that everyone knows he is a Fed. The sweating agent is pitted against a savvy counterfeit expert, Jane Randolph, whose boss okays the phony plates. But the real expert is called in to confirm it. He becomes sort of a double agent and lets O'Keefe live, lying that the plates are good. Numerous federal agents arrive and scatter the thieves, chief among them, the cowardly McGraw, running for his life from O'Keefe's bullets. Funerals are scheduled.
Note: This is one of ten films for the unknown Mary Meade, four of which are uncredited. She plays the nightclub photographer/counterfeit contact, Evangeline, during this peak period of her career. Much more success came to June Lockhart, here in her sixth post-World War II film as the wife. Finally, Alfred Ryder had a prolific career in television.
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