Benedito Dias Rodrigues Noir is one's my favorite style of movie and this one is really great. Since the beginning when the cop explain how he solve an investigation. The story is about a bad marriage between a pharmacist and his unfaithful wife,betrayed and left by her...he want and planned a revenge but to give up in time but the man was killed that night...and your wife comeback to him...now he's in trouble with the cops who are in charge of the case. Richard Basehart and Audrey Totter made a great performance in this movie and Barry Sullivan as a wise cop together with your partner William Conrad and don't forget the young Cyd Charisse!!Sooo delightful movie!!!

AaronCapenBanner John Berry directed this underrated film noir that stars Richard Basehart as milquetoast husband Warren Quimby, who works as a pharmacist where his bored, philandering and beautiful wife(played by Audrey Totter) hangs out and carries on right under his nose! She then decides to leave him for another man named Barney(played by Lloyd Gough). Warren later confronts them on a beach, but is easily pushed aside by Barney, inspiring him to enact an elaborate scheme of revenge and murder by creating a new identity for himself, but someone murders Barney before he gets the chance, though of course he still gets the blame by police... Fine thriller with solid acting and direction, with a protagonist who is most sympathetic, and a leading lady who is not!

Alex da Silva Pharmacist Richard Basehart (Mr Quimby) loves his wife Audrey Totter (Mrs Quimby). However, these feelings aren't reciprocated and Totter spends most evenings with other men behind Basehart's back. He discovers what she is up to one evening but it is all too late and Totter moves into salesman Lloyd Gough's (Barney) Malibu beach house. Basehart suffers a further humiliation when he shows up to confront the couple and this leads him to plan his revenge of murder. He adopts a new identity and prepares to kill Gough. We do indeed get a murder.Basehart, Totter and Gough are all excellent in this film. Detective Barry Sullivan (Bonnabel) looks like Franchot Tone and narrates in parts. The story is effectively told and it is easy to follow. I'm not sure that there is much tension in this offering other than the moment one night when Basehart breaks into Gough's apartment and finds him asleep on a sofa. Will he kill him or won't he? What happens next provides the first surprise of the film before Sullivan's detective appears on the scene and starts playing characters against each other in order to discover what has been going on.It is made pretty clear that Sullivan is in control of what he is doing and there seem to be no surprises for him. What is more interesting is following the double life that Basehart has been leading and egging him on to get away with things. No-one falls for his trick of replacing his glasses and wearing contact lenses in order to disguise his appearance. How dumb to even suggest that he looks like a different person without at least sticking on a false moustache as well. The tension comes from Sullivan cranking up the deceptions in order to trip up the killer but it seems like he knows everything already. No tension. The guilty party is going to get caught. This is an easy-to-watch film with great dialogue delivery from Totter. She is quality in every scene that she is in, and Basehart is a likable chap to root for. As a teenager I had a friend whose house I visited a handful of times. Every time I went round to see him, his schizophrenic mother used to chat to me in the kitchen about how THEY replace the radiators in the house every time she goes out. After watching this film, I now believe her and I think I know who did it. As my wife is not in at the moment, I think I'll just go and replace all the furniture in the flat. Ha ha.

LCShackley This late-40s film noir has all the right ingredients: murder, a sleazy and deadly female (Totter, with a wonderful gamut of facial expressions), a female with a heart of gold (Charisse), a possibly corrupt cop (who functions as narrator), location shooting, and a wonderful jazzy score by Andre Previn with possibly THE most perfect "femme fatale" theme ever written. (When that sax starts to wail you know that your heart is about to be stomped flat.)Of course, there are lots of films with these ingredients, but what really makes this one tick is a great script. The writers manipulate your feelings about the characters, especially Quimby (Richard Basehart). Is he a sappy milquetoast? Or a killer? Or an adulterer? And what about that cop? Whose side is he on, anyway? One great twist after another leads to a very satisfying conclusion.I had never heard of this film, but it popped up on TMC and I'm glad I took the time to watch. I think it stands with the best of the genre.