Benedito Dias Rodrigues
How fantastic is noir style,another fine one,this time Richard Widmark on third role in your career portrait one more time a similar Tommy Udo's character when he bring the beauty singer (Lupino)from Chicago for act in your night club, the manager your lifetime friend (Wilde)adviced him about too expensive woman,but Jefty insist that it will be increase the profits,but Pete fail in love with her,but Jefty has another plans for Lily,the last part of the picture burning strong when Jefty has a time revenge,fantastic ending of this amazing noir directed by Jean Negulesco
nomoons11
Any time you got Richard Widmark in a noir you know you got trouble...and he delivers...yet againI think there were really only ever 2 really bad or evil characters in noir and they were...Richard Widmark and John Garfield. These guys consistently portrayed flawed and rotten characters but Widmark was about as mean and nasty as they came. He was the master of the loathsome worm -like guy who always made it miserable for every other character but his own.Jefty is a guy who owns a Road House and his best friend from childhood runs the joint. He comes back from Chicago with another girl he deems great to sing at his place at an inflated rate. His friend thinks it's another of his crush's but low and behold...she can sing. Jefty has the hots for her but she has no interest in him...only his friend. Now Jefty is a fairly nice guy but when the news is delivered they love each other, he doesn't take to it very well. After this, it's go time for Richard Widmark and his trademark Mr. Evil character to blossom...and man does it.Trust me folks, if you want sheer evil in film you should see just about any noir Widmark ever did. He shoulda done film class 101 on scumbags on film and how to do em. In this one, you'll cringe at what he does in the second half of this film.Sit back and wait for the payoff in this noir gem...it'll most certainly be worth your wait.
kenjha
The employees of a road side nightclub become involved in a love quadrangle, leading to tension. Lupino is fine as the tough saloon singer, even warbles a few songs at the piano. Wilde is the earnest but hunky fellow she is attracted to, much to the dismay of Widmark (who likes Lupino) and Holm (who likes Wilde). As was often the case early in his career, Widmark plays a psycho with a maniacal laugh, overacting to the hilt. Holm is given little to do but she does it well enough. The script is contrived and melodramatic, but Negulesco creates a nice film noirish atmosphere, culminating in an exciting finale in fog-filled woods.
Bacardi1
This could have been a top-notch film noir classic if it wasn't for Ida Lupino's god-awful singing, made even more laughable by everyone in the film waxing rhapsodic over her re: how fabulous she was. Flat, off-key, talking thru most of it - you name it. Neither sexy nor torchy. Even the worst Grade D picture singers sound better. Can't help but feel that once again, another example of a star's ego ending up ruining what could have been a very nice little film.Cornel Wilde does his usual shtick, which rarely changes film-to-film; but as usual, Richard Widmark shines in a role that he does best.But all in all, a nice little film.
AD
