Benedito Dias Rodrigues Stealing a slogan from Gilda to describe such evil woman like Margot Shelby,although the plot was unbelievable,this picture is a real gem and l thrilled when heard that it will be came out shortly,after to watch it didn't disappoint me,in a blood killer woman,greedy femme fatale like few,she behave like a spider,handling every men at your feet,dragging down,pushing, hurting with no feelings at all...apart the methylene blue and another holes that come along in a low budge noir..all remains is fantastic,so sorry for too short time picture!!!Resume: First watch: 2017 / How many: 1 / Source: DVD / Rating: 8.5

jarrodmcdonald-1 Originally produced by Pathe/Monogram, Decoy is currently being issued on a disc with Crime Wave from Warners. The print has been beautifully restored, and while it was definitely shot on a limited budget, it does not look any cheaper than most film noir from that period. Jean Gillie, the British actress who makes her American film debut in this picture, is the ultimate femme fatale. Sheldon Leonard is one of the good guys this time, and as she spills her story to him, we are drawn into the action. There are so many memorable scenes and images in this film. Particularly, there is a point in the narrative where Miss Gillie runs a guy over with a car—and another one where she shoots a man out in the forest and just laughs about it. But she makes up for (some of) this when she helps save a friend from the gas chamber, but unfortunately he has a short future. Jean Gillie had a short future, too. She died three years after she made this film of pneumonia.

secondtake Decoy (1946)This kind of death row movie makes you appreciate how hard it is to pull off a great movie. Here, all the flaws show, almost textbook perfect. The acting struggles between pretty good (the lead female, the femme fatale one, Jean Gillie) to pretty awful (including, unfortunately, the lead male, a doctor, Herbert Rudley). The detective who shows up now and then (Sheldon Leonard), is actually pretty strong, a coldhearted, no-nonsense type, charmless, perhaps, but with some acting subtlety. (Leonard was a smart guy, actor and director for a lot of classic entertainment television years later.)But in "Decoy," notice how the archetypal elements are all there. The plot is as interesting as many melodramas, if a bit far-fetched in the one detail that is its hook. But there is no Joan Crawford to raise the whole thing up. Cinematographer Bill O'Connell did do the astonishing original 1932 "Scarface" and he makes this movie excellent in the night scenes, but much of the rest of it is merely functional. The director, Jack Bernhard in his first film (in a five year career), could have made more of all of this. When an actor flinches in reaction, it's obviously an overreaction a better director would have reshot. The music swells and soars. The prison priest is sombre. The nurse calls the doctor "darling" even though he's in love with someone else. But still, there are moments, and it has a great period feel to it whatever its flaws. And a line now and then pops up, crude and noirish. "Come here baby, I want to look at ya." Or the Frankenstein-like, "I'm alive, I'm alive!" Headlights signal across a lonely highway, men struggle with their unexplained passions, good women give bad women the eye, and innocent people die needlessly. The key brief moment that rises above is a man's grappling with being alive at all. And there is that box of money out there which everyone wants, and he's the only one who knows where it is, while he's actually alive and kicking.It's all in a day's work. Don't expect a cult marvel--it's no "Detour," not at all "Gun Crazy," to name two B-movie classics. It's a creaker with some involving moments, getting better in the second half, and with a campy last three minutes (the woman's laugh is worth the whole thing). But by the end, you might have to remind yourself about the beginning, before the big flashback.

jzappa Decoy has a ridiculous plot. It's about a plot to get a prison doctor to revive a gangster after his death sentence is carried out in the gas chamber so that the gangster's moll can find out the location of money from a heist gone awry. This is pretty far-fetched and I'm not sure I buy it. But the magic of the movie is that I don't buy it now, but when I was watching this petite little B flick, I was thoroughly entertained. It covers the corners of a film noir with all the caricatures and all the frowning settings.This overall ironic noir, now that it's over, feels like a bit of a throwaway. It doesn't do much in the way of originality or freshness. It recycles the same notes to the same tunes we've already heard thousands of times. It just plays them with a different instrument. If this were not very much my type of movie, what with the gangsters, femmes fatale, double-crosses, heist loot, and those sorts, I would hardly have cared about much during. However, since it is, I was entertained for its thankful 76-minute duration.Everything is passable. I think Robert Armstrong has the right look for a gangster street wise enough to take the secret of his loot to his grave. Jean Gillie is a decent gun moll, especially considering that one would hardly guess that she is English. All her sideline squeezes are tough-looking, swarthy men in black suits who look like they were the bullies in junior high, and Herbert Rudley, the everyman prison doctor stuck in the middle, though he is thankfully a no-name, was tolerable as the protagonist.