FINGER MAN (1955)

There are few surprises in this eighty-two-minute Lindsley Parsons Productions project. Distributed by Allied Artists and directed by Harold Schuster, there were numerous films patterned in the same manner mid-century. Hats off, though, to William Sickner for his photography and Paul Dunlap for providing a solid score that fits the various moods nicely. The talky script is slow at times with a fair share of clichéd staging. It is an average effort and subsequent viewings will probably not be high on your list of priorities. As is so often the case, without an experienced cast, this film noir would not be nearly as watchable.

How unfortunate that Frank Lovejoy's short, thirteen-year career did not allow viewers to witness future projects. It seemed he was Hollywood’s go-to man when needing an average guy dealing with challenging situations. He possessed an intense, underplayed acting style that, more often than not, was effective. He could be a bit lackluster, too. Lovejoy does the voice-over narration reminiscent of his earlier radio program, Night Beat. Rather unusual to have someone at odds with the law tell his story in voice-overs. Most criminals end up dead in a routine film noir. 

Lovejoy is a petty criminal who has served time in the big house. He is also a talented “piano player” after a fashion. Probably the accompanist for the prison choir. To clarify, we never see the full keyboard of the upright piano he tickles at a nightclub. Not quite sure if he had a job at the club or if they just let me play when he shows up. Brought in for hijacking a truck, he is given a choice to either return to prison or help the U.S. Treasury Department take down a crime boss, the less-than-believable, Forrest Tucker. The studios or perhaps his agent may have struggled to find a niche for Tucker. This role does not seem the right one. If Lovejoy is successful in putting the finger on Tucker, his record will be washed clean. The worst that could happen is that he gets killed. Understandably, this factors heavily in his decision. After discovering his sister has become a drug addict thanks to Tucker, he is committed to the assignment.

The acting is believable with the possible exception of Timothy Carey (above), Tucker’s lunatic partner and sociopath. Carey could be the levity in this movie as his scenes elicit laughs. Yet nothing amusing about his disturbing desire to scar females’ faces before, during, or after killing them. Opposite a laid-back Lovejoy, he provides an over-the-top contrast. Discovering a past despicable deed, Lovejoy wants to attack him savagely. But before a blow can be landed, Carey immediately starts whimpering like a little child until he finishes his outrageous scene. An odd, one-dimensional character that has become classic Carey.

Lovejoy’s love interest, formerly employed by Tucker to pad his income, is Peggie Castle. Castle seems a bit too refined for the role. A “Jan Sterling type” would have been a more expected choice. She wants to turn her life around and Lovejoy demands the Treasury also clear her record if he is successful. He needs her help to get on good terms with Tucker. Things do not end well for Castle. Often noted is her final scene crossing a darkened intersection while Lovejoy watches her for the last time from his second-story apartment. The best noir element in the film or several other films.

Tucker initially likes the short-fused Lovejoy but his opinion changes rather quickly after an undercover detective, assigned to keep tabs on Lovejoy, is fleshed out. There is no escape for the panicky Tucker. Just a reservation at the San Quentin “motor lodge” where the yearly rate is the best value. Lovejoy’s final voice-over, walking away from the camera down a darkened sidewalk, indicates he hopes to start a new life. Help people like his sister or Castle. If he lives long enough.