An unusual film in that the stars Ladd and Reed never meet. She is dead when the film opens and her story is told entirely in flashbacks. Unfortunately the flashbacks are all rather dull and needlessly hold up the exciting present-day action with Ladd tangling with gangsters, though even in the contemporary sequences there is too much dialogue and not enough action and the scriptwriters seem unsure as how Miss Reed actually ties in with the present-day events (Ladd gives a perfunctory explanation at the climax which convinces no-one).
It has a promising idea, but the script never really lives up to its promise. Many of the ideas here were worked up much more grippingly by Richard Brooks in Deadline USA.
Lewis Allen's routine direction doesn't help either, nor does some obvious process screen work. In fact, production values are very moderate by "A" standards, and it's odd to find a Victor Young score attached to a film of this class.
Ladd is fairly forceful, though his diminutive size is a handicap, but Miss Havoc looks far too old as his soul-mate (her character as written and played is highly ambiguous) and Miss Reed is rather colorless and unexciting for someone who causes all the present-day excitement. Shepperd Strudwick struggles manfully with another ambiguous characterization, while Berry Kroeger is rather blankly sinister as the gangster. Gavin Muir lets slip his opportunities and gives a superficial portrayal.
Despite her prominence in the cast, Irene Hervey has only a small part (notice Marie Blake from the Dr Kildare series back in her accustomed post as a switchboard operator). The best players are Willock, Powers, and Vermilyea.
It has a promising idea, but the script never really lives up to its promise. Many of the ideas here were worked up much more grippingly by Richard Brooks in Deadline USA.
Lewis Allen's routine direction doesn't help either, nor does some obvious process screen work. In fact, production values are very moderate by "A" standards, and it's odd to find a Victor Young score attached to a film of this class.
Ladd is fairly forceful, though his diminutive size is a handicap, but Miss Havoc looks far too old as his soul-mate (her character as written and played is highly ambiguous) and Miss Reed is rather colorless and unexciting for someone who causes all the present-day excitement. Shepperd Strudwick struggles manfully with another ambiguous characterization, while Berry Kroeger is rather blankly sinister as the gangster. Gavin Muir lets slip his opportunities and gives a superficial portrayal.
Despite her prominence in the cast, Irene Hervey has only a small part (notice Marie Blake from the Dr Kildare series back in her accustomed post as a switchboard operator). The best players are Willock, Powers, and Vermilyea.