It is hard to find flaws in this quintessential film-noir directed by Henry Hathaway. The opening theme may sound familiar. "Manhattan Melody" was used for many New York films of the Forties. Hats off to the sometimes witty and sharp, cutting dialogue by screenwriters Schoenfeld and Dratler, based on a story in Good Housekeeping by Leo Rosten. The cinematography by Joseph MacDonald is a textbook example of film noir. He puts the noir in film noir. A clever example is when we see William Bendix, in a white suit, juxtaposed with Mark Stevens' dark silhouette in an adjoining room, as if in a split-screen or a positive-negative effect. It also suggests that men who wear white are not necessarily the good guys. Not a big success during its first run but it has gained high praise in hindsight.
As a private investigator, Mark Stevens is a falsely accused ex-con trying to run a legitimate private investigator business. His character is on edge most of the film, disgruntled by an undeserved prison term. It is easy to figure out Stevens’ career potential, here billed as "the new tough guy." He is not a fan of compromising when he should be and he delivers a strong performance. He was on everyone’s radar after this film, catapulting him from "under the radar" roles at Warner Bros. Fred MacMurray, originally set to star, would not have pulled off the pint-up anger and edginess of Stevens, also in hindsight. Yet Stevens never made the A-list. Lucille Ball is somewhat the female equivalent in films. She is his newly hired secretary and best ally. They hit it off right from the start. Ball got lost at Twentieth Century Fox during this period competing with similar actresses with not enough uniqueness to draw attention. The new medium of television was around another corner where she will completely obliterate these roles and never look back.
Stevens is being tailed by William Bendix. After a brutal confrontation, Bendix falsely confesses he is working for Kurt Krueger, Stevens’ former partner and corrupt lawyer who set him up for prison. Stevens, with Ball’s help, attempts to uncover what appears to be Krueger setting up Stevens for another fall. But Bendix is in cahoots with Clifton Webb, a wealthy art gallery owner. Webb knows his pretty wife prefers the younger Krueger and his possessive nature will not let him share any of his valuable works of art. Whether inanimate or not.
Webb suggests that Bendix plan an unannounced visit at Stevens' office and also talks Krueger into seeing Stevens the same night. After a brief struggle, Bendix gives Stevens his ether handkerchief, then murders the next person expected through the door, Krueger. The frame is set for the unconscious Stevens. Rather than pay off Bendix, Webb dispenses with him for his screen finale. It would appear Webb has tied up all the loose ends. Stevens starts putting two and three together and confronts Webb at his gallery. The condescending Webb is in for a big surprise.
Note: The film ends on a lighter note. While Stevens is being cleared of any wrongdoing at the gallery, two Brooklyn cops contemplate a Donatello statue. Not a word from either for quite a while until the first officer wonders, “Imagine anyone in their right mind ever buying a piece of junk like that?” His partner, lacking any sophistication replies in a Brooklyn gravel voice, “Shoeuh they do. That is ahht.”
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