A nice little black one, still as tight & bitter as it was in 49. First sip, starts on the hubcaps: hills of LA at night, a white convertible, a fast driving woman, stolen money. ======== Un bon petit noir toujours aussi âpre & serré qu'en 49. Première gorgée, ça démarre sec: collines de LA la nuit, une décapotable blanche, une femme au volant roulant vite, de l'argent volé. ===== Enjoy !
"Don't ever change sweetheart, I don't think I'd like you with a heart"...Solid 'B' noir that tells an entertaining tale but lacks the punchy dialogue the genre is known for. Performances are nothing more than adequate. Film is better known as 'Too Late For Tears'.
To me, this is the quintessential underappreciated B-noir of the 1940s. It takes shoddy production, a pulpy script, and direction and set design aiming to make things as dark as possible, and ends up producing one of my all-time favorite noirs. In terms of low budget masterpieces, it ranks among the very best of the genre, only slightly behind more celebrated classics like the previously mentioned Detour.
A great lost noir with a completely mercenary leading lady, twist after twist after twist as identities and motives are unpeeled, and (almost) every character constantly looking to find their footing and gain some advantage as the story plays out.
This film is a treasure restored to us by the Film Noir Foundation.
Pretty good noir. Lizabeth Scott is one of fav femme fatales, particularly that film she made with Bogey whose name escapes me. The 'suitcase full of money randomly thrown into car by accident' angle is an interesting plot device, cant say Ive seen anything similar in a film before or since. Dan Duryea is seemingly in every noir ever made, and plays his normal role. 3.5 stars, worth a look