Fred J. Johnson (Lloyd Corrigan) scores a hole-in-one but his next drive, using the lucky, initialed golf ball, soars out of bounds and lands near a spot where some counterfeiters are ...
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Geoffrey Holden is an elderly conman who is a lovable old man when providing his beloved granddaughter with the simple luxuries of life, yet has no qualms when working a racket devised to ... See full summary »
A crusading reporter plans his own arrest and conviction for first degree murder, trying to show that the death sentence should be outlawed when based on circumstantial evidence alone, but his plan goes awry.
Linda Vickers gets mixed up with gambler Marty Fain. One of Fain's henchmen uses her car in a killing, and the police come around asking questions. Linda decides to indulge in a bit of ... See full summary »
Richard L. Bare
Fred J. Johnson (Lloyd Corrigan) scores a hole-in-one but his next drive, using the lucky, initialed golf ball, soars out of bounds and lands near a spot where some counterfeiters are burying a murder victim. Then begins a series of events in which he is hounded and threatened by the killers. The consequences of his not reporting what he saw to the police lead to a climax in which is daughter is held hostage by the crooks.Written by
Les Adams <firstname.lastname@example.org>
According to an article in the 15 July 1946 edition of The Hollywood Reporter, the studio obtained special permission from the U.S. Treasury Department to photograph genuine U.S. currency - normally prohibited in films - for use in its publicity material for the picture. The Secret Service also set up exhibits in theater lobbies on how to spot counterfeit bills. See more »
When Lloyd Corrigan's drive hooks into the woods, he follows it and, unseen, finds two people burying a corpse. The criminals find the ball and warn him not to go to the police and he worries about his duty and the risk to his daughters, Anita Louise and Terry Moore. Meanwhile, the murders are trying to track down Corrigan, because he's got the plates for their counterfeiting racket in John Sturges' second movie as director.
The most interesting touches to this columbia second feature mystery is the way that cinematographer Henry Freulich shoots it. The early portions with Corrigan and his family are shot in bright lighting, with some light-hearted banter, while baddies Wilton Graff and Doris Houck are shot in noirish shadows. As the movie progresses and Corrigan's worries and situations worsen, the shadows lengthen and his own world grow dark and the musical cues grow agitato.
The movie never progresses much beyond its B roots, of a gemutlich, normal family menaced by criminals outside the pale of hard-working, well-meaning law enforcement. Within those confines, however, the cast and crew show themselves capable of good work.
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