During WWII, the publisher of the isolationist New York Gazette is murdered just as he was about to change the paper's policy and support the US war effort. His friend, a small town patriotic editor, is brought in to find the culprits.
Agadez is a lonely French outpost baking under the desert sun and commanded by the cruel and oppressive Captain Savatt (C. Henry Gordon). To it comes, at his own request, Legionnaire Jim ... See full summary »
Convicted murderess Valerie Carns (Ann Blyth) is being transported to Norwich to be executed when a flood strands her and her guards at a convent hospital. Nurse Sister Mary (Claudette ... See full summary »
The Globe is a small, but visionary newspaper started by Phineas Mitchell, an editor recently fired by The Star. The two newspapers become enemies, and the Star's ruthless heiress Charity Hackett decides to eliminate the competition.
After having served 5 years in prison, for killing a man while defending her disreputable lover, Harry (John Baragrey), Jenny Marsh (Patricia Knight) is set for parole. Her parole officer, Griff Marat Cornel Wilde is determined to make Jenny go straight. For lack of other prospects Griff finds Jenny a job in his own home, something totally against regulations. At first, Jenny still has feelings for Harry, but as Griff shows her more compassion and care, she falls in love with him - which Harry seems to encourage, because he has plans to crush Griff and his dreams of political office, and the situation soon becomes even more dangerous...Written by
Rod Crawford <firstname.lastname@example.org>
In Samuel Fuller's original script, the film ended with a violent rebellion by Marat against the system that kept him and Marsh apart. The studio had National Velvet (1944) scriptwriter Helen Deutsch step in to pen a soft-suds rewrite. See more »
Released from prison after five years for killing a man to protect her gambling lover (John Baragrey), hard case Patricia Knight comes under the purview of parole officer Cornel Wilde. Trying to keep her from the clutches of the still-infatuated Baragrey, Wilde moves her into his household as companion to his blind, widowed mother. Inevitably they fall in love and wed secretly, since marriage is a violation of parole. Not one to read a Dear John letter lightly, Baragrey attempts to blackmail Knight with old billets-doux but is shot in a struggle. Wilde, on the verge of turning her in, relents, and, in a long sequence that was reprised almost exactly two years later in Tomorrow is Another Day, joins her on the lam, making ends meet as a day-laborer and living in shacks. But the strain of poverty and fear of apprehension begin to corrode....
Douglas Sirk, later to reach fulfilment in lushly overwrought melodramas like Written on the Wind, shows a nice flair for the conventions of noir in this well scripted and acted film, which maintains its integrity until its rabbit-out-of-the-hat ending -- surely not the one penned by co-scenarist Samuel Fuller. (The title, by the way, seems basically meaningless but to have been chosen for its purely abstract, noirish resonance.)
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