Cry Danger (1951)

Excellent, Without a doubt!!

Bad Acting and worse Bad Screenplay

The acting is good, and the firecracker script has some excellent ideas.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

This film is usually credited to director Robert Parrish alone, but in point of fact it was Dick Powell who directed and rehearsed the players, whilst Parrish and Joe Biroc concentrated on the camera set-ups. This makes Cry Danger Powell's first film as a director – and a really notable achievement it is! Powell's own performance is also one of his best. He delivers his amusingly pungent dialogue in a delightfully laconic manner. However, it is actually Richard Erdman, who plays Powell's bogus buddy, who delivers the film's standout performance. The script provided him with a well-rounded character which he plays with just the right degree of morose self-indulgence – without in any way alienating audience sympathy. On the other hand, William Conrad delivers another of his chillingly fascinating studies in vicious thuggery. He is particularly well-served by director Powell, who makes great use of his bulk and in the justly celebrated table- top confrontation pulls off a truly memorable use of upside-down composition. So why am I awarding this terrific film a miserable 8/10? The name of the loser is Rhonda Fleming – a really lovely woman but with a very limited acting range. She is so beautiful, she can usually get away with it – but not in this movie! Understandably, she passes up the opportunity to turn in a performance of some subtlety, but even her straight acting here is unconvincing. But the rest of the players are all in fine form, particularly Jean Porter, Joan Banks and Gloria Saunders. (Memo to myself: Check to see if IMDb credits the unbilled Kathleen Freeman as the second cigarette girl.) Of the male performers, Jay Adler, Hy Averback, Benny Burt and Lou Lubin make a lasting impression. I have a buddy who used to give a course on film editing and this was the movie he always showed his students as an example of the best!

Dick Powell must represent one of the most successful transformations of character in screen history, from light hearted romantic crooner to tough guy. While this little, recently re-discovered film, may be far from one of the best examples, it certainly makes for a good watch.The story by Jerome Cady (A.K.F. Call Northside 777 '48) has many good one liners, and enough twists to keep you hooked till the close. It's unfortunate Cady died at only 45 from an overdose of sleeping pills, taking with him whatever other stories he may have wanted to tell...as well as his own! The Screenplay by William Bowers (A.K.F: The Web '47, Night and Day '46 and Split Second '53) rolls along at a lively pace up to the final scene, that unfortunately, seems to have been either tacked on or hastened by other commitments. The support cast are also good, with William Conrad menacing as the Orson Wells look alike - double crossing partner in crime. Richard Erdman adds a good presence as Delong, a strange opportunist tagging along hoping for a share of missing heist monies. Auburn haired beauty, and trained Soprano, Rhonda Fleming provides adequate feminine interests. Would sure be nice if someday, footage of her traveling Gospel quartet with Jane Russell, might come to light. Ms Fleming also received the Living Legacy award in '95 for her many contributions to women's health issues. Regis Toomey makes a convincing Detective, and his character is intelligently defined. 'Cry Danger' marks the first Directorial effort for Award winning editor Robert Parrish (Body and Soul '47) who went on to direct: Saddle the Wind '58, and Journey to the Far Side of the Sun '69. Prolific Director of Photography: Josef Biroc (It's a Wonderful Life '46, The Detective '69) captures the seedy sets designed by Hungarian Joseph Kish, to the point where you can almost smell the mold and dust on the walls.Paul Dunlap (Walk Like a Dragon '60, and several Samuel Fuller efforts) along with Emil Newman, are credited with the Music Score, but others were also involved, so it comes across as pretty much like a stock Library effort.Not first class Noir, but should please lovers of 50's mystery double features and, any work by Powell is worth watching.

Your average run of the mill film-noir with Dick Powell starring as a recently released prisoner, who comes home to try to prove that he was not involved in a robbery that killed someone and sent him up the river.Rhonda Fleming plays the almost-innocent wife of the guy who went to prison along with the Powell character. However, she isn't as innocent as she appears.As stated, the film is routine and there really isn't that much excitement involving the main characters, except that they escape death when another couple take the bullets intended for them.The ending is where Powell walks into the sunset as the police go to arrest Fleming.

Seen at the SF Film Noir Festival January 2007. Eddie Muller, the host of the affair, interviewed Richard Erdman between films. Erdman is viciously funny and a great raconteur. You'd recognize his face anywhere, he's done so many bit parts in movies over the years. His role in Cry Danger is one of his favorites and served as a kind of break through for his career. The scene where he has sworn off booze and is putting together a hamburger and pouring himself a glass of milk shows a man who makes himself promises and keeps none of them. He tosses the burger, pours out the milk and fills the glass with whiskey. Noir films from this era made no apologies. A drunk was a drunk. Nobody went to rehab. Cigarettes are lit like Roman candles and nobody complained about second hand smoke. Babes in low cut gowns make it obvious what they're after. Powell's character is focused and relentless. Rhonda Fleming is a gorgeous red herring (to match her red hair?) The print came up from the UCLA film vaults after the 35 mm print sent out from Cambridge proved technically unwatchable. Muller says there will never be a DVD of this film. The master is shot and the 16 mm version shown at the Castro Theater was murky and grey. Still, the film is worth watching if for no other reason than to hear Bill Bowers' sharp dialogue. His family was in the audience including his widow for a touching tribute to this master Noir scripter.