Cry Danger

A tight B-Noir with snappy dialogue and a good cast. Powell is believable as the lead and the supporting cast consists of a lot of familiar faces. There's also some nice location shooting, especially the trailer park which I hadn't seen used this well in Noir before. If you've seen your share of Noir, you could easily guess where the story was heading, but it was a fun ride anyway. Not a classic, but it's astonishing how many of these smaller gems the genre has to discover.

The more I see of Powell in noir, the more I like him in it. This one is really my type of noir, seedy investigations, snappy dialogue and while Powell's character isn't a detective, he may as well be one. It's just a wonderful time with great characters, great shadows and a nice windy investigative trail and strong ending.

"Cry Danger" offers a snapshot of its era through dialogue and an intriguing depiction of alcoholism. The film portrays a world where women spell trouble and men, including the police, operate by their codes—a compelling dance of characters and motives.

You know what this film is? It's a real humdinger. It's got a bit of everything. It has late career Powell in dark, cynical wisecracking mode. It has hard drinking Erdman providing comic relief, especially while trying to romance sexy pickpocket Jean Porter. It has an illicit romance between Powell and Rhonda Fleming, the wife of Powell's best friend who's still serving time on the same robbery charge. It has Conrad as a loathsome villain. It even has Jay Adler playing a ukulele.

Not so much the artistry that make Cry Danger (1951) so good. It's the direct no-nonsense approach Dick Powell chose for this criminal investigation. The tight dialogue and rather shabby acting to make the talk believable, and for the viewer, very enjoyable. Regis Toomey fit right in, and the Fatman was effective as the unlikable villain. Delivers a simple approach that worked.

Enjoyable, typically hard-boiled noir with solid if one-dimensional Powell outshone by amiable Erdman and shady Conrad. I watched this in tribute to Fleming, who is very good in a stock role.

Filme #800 do ano: Em honra de Rondha Fleming (1923 - 2020). O que fica é que o Richard Erdman realmente rouba a cena aqui. Shut up, Leonard! Box Versátil Filme Noir Volume 12.

The crisp dialogue crackles and pops, and I also really liked 'The Web', also co-written by Bowers, so I definitely need to check out some more noirs from his resume!

Highly enjoyable, well-written and well-paced noir with an appealing cast. It never lags, and the wisecracks are frequent and original. Powell, is excellent, Richard Erdman is a sympathetic drunk, and it's run to see William Conrad a couple of decades before Cannon.

"Things go haywire if you let them happen and don't MAKE them happen", says our hero. So he sets out to make things happen, but then, in fine noir fashion, things go even haywierier. Nice ending.

Somewhat lightweight but entertaining noir. Dick Powell is out to set the record straight after serving 5 years for a robbery he didn't commit. Things really get cooking in the third act. The build-up is kind of sluggish, but is held up by some crisp dialogue and Powell's sardonic charisma. Some fun supporting roles too, although Rhonda Fleming comes off rather bland. Director Robert Parrish doesn't bring much atmosphere to the table, but the opening sequence is quite striking.