Comic films noir, a sub-genre generally best avoided, tend to have less laughs than straight noir; and no discernable suspense. But here’s a happy exception from early in noir master director Anthony Mann’s career. Not much known for comedy, perhaps that’s his secret. Rather than going for laughs, he plays the game straight; making sure his plot holds water. Pleasingly cockeyed rather than dumb. It also has the striking advantage of debuting noir icon Jane Greer, already showing cool heat in support. Elsewise, lead couple, top cop, crime reporter, all pull together on a script that rarely sinks for a laugh. (From a Gelett Burgess novel previously filmed as TWO IN THE DARK/’36 - not seen here.) Tom Conway (the non-caddish kid brother of George Sanders) is nearly hit by cute cabbie Ann Rutherford. Already conked on the head, he’s got temporary amnesia and a likely murder rap chasing him. Who is he? Figure that out to find the real murderer among a bunch of B’way writers, producers & actors before the cops move in for an arrest. Less innocent man on the run than innocent man running in society and theatrical circles. Neatly played and written, with quick answers and solutions, the film doesn’t overplay for easy laughs, but leads us toward believable motives and solutions. But all bets are off when Greer shows up as a B’way sharpie who knows what’s going on. Poor Ann Rutherford, pleasant enough as a sympathetic cabbie sidekick to Conway’s confused suspect, hasn’t a chance once this Always-Gets-What-She-Wants femme fatale shows up.
DOUBLE-BILL/LINK: *Jane Greer’s main claim to noir immortality stems from OUT OF THE PAST/’47, but for lighthearted noir stylings, try THE BIG STEAL/’49. https://maksquibs.blogspot.com/2008/07/big-steal-1949.html
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