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Framed (1947)

Approved | | Crime, Drama, Film-Noir | 25 May 1947 (USA)
Mike Lambert, seeking a mining job, instead becomes the patsy for a femme-fatale's schemes.

Director:

Richard Wallace

Writers:

Ben Maddow (screen play), John Patrick (story)
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Cast

Complete credited cast:
Glenn Ford ... Mike Lambert
Janis Carter ... Paula Craig
Barry Sullivan ... Steve Price
Edgar Buchanan ... Jeff Cunningham
Karen Morley ... Beth
Jim Bannon ... Jack Woodworth
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Storyline

Mike Lambert, unemployed mining engineer, arrives in a small town with a bang when the brakes fail on the truck he's driving. After meeting seductive Paula at the La Paloma Cafe, he finds himself in trouble with the law. On the basis of a few burning glances, Paula pays his fine and finds him a room, but her motives are not what they seem. Mike lucks into a job with miner Jeff Cunningham, but against his will he's drawn ever deeper into Paula's schemes. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

"Let's get things straight about you and me and him..." See more »


Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

25 May 1947 (USA) See more »

Also Known As:

They Walk Alone See more »

Company Credits

Production Co:

Columbia Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

This film was made in 1947 when the House Un-American Activites Committee began its investigation of communism in Hollywood. Three of the people involved in this film, the screenwriter Ben Maddow, the actors Karen Morley and Art Smith were eventually blacklisted. See more »

Goofs

Before Mike Lambert (Glenn Ford) enters the tavern where Paula (Janis Carter) worked, his shirtsleeves are rolled up. He puts his suit jacket on over the rolled-up sleeves. When he enters the establishment, they are rolled down and buttoned neatly, sticking out of his jacket. See more »

Quotes

[last lines]
Bank Guard: You'll get a big reward for this.
Mike Lambert: You keep it!
See more »

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User Reviews

 
I'm right back where I started. Nowhere!!
4 February 2017 | by SpikeopathSee all my reviews

Framed (AKA: Paula) is directed by Richard Wallace and adapted to screenplay by Ben Maddow from a story written by Jack Patrick. It stars Glenn Ford, Janis Carter, Barry Sullivan and Edgar Buchanan. Music is by Marlin Skiles and cinematography by Burnett Guffey.

Mike Lambert (Ford), down on his luck and fed up of getting nowhere in life, meets sultry waitress Paula Craig (Carter) and things will either get better or worse?

There's a road sign in this that grabs the attention, it reads DANGEROUS CURVES! Now that initially is in reference to a perilous road - with roads featuring prominently as dangerous parts of the play - but it quite easily could be, and in all probability is, a sneaky reference to Janis Carter's femme fatale. Paula Craig in Carter's hands dominates the film, not that Ford or Sullivan are pointless fodder, but it is both the actress and her character's show.

After a burst of pacey excitement opens the pic, action moves on to a cafe, from where we are introduced to Guffey's talents, from this point on almost everything is atmospherically shot. Slats and shads, lamps and cell bars, all get the Guffey lens treatment that's sitting superbly with the unfolding psychological dynamics. Very early on we are delivered two characters who basically are a cheater and a viper, while the main man of our story is a guy who struggling with his identity in life. He also likes a drink, but with that comes memory loss, which is never a good thing when you are holed up in a noirville town.

Stripping it back for examination you find the story is very simple, which is surprising and a little disappointing given the screenplay writer also did The Asphalt Jungle. Yet the characters and the actors performances, helped by some classy tech work, more than compensates - that is until the finale, which for some (me for sure) is a bad choice for character tone. But it's not a film killer, for we get everything from orgasmic glee shown in the process of a callous crime being committed, to characters either in need of a soul or facing their days of judgement. 7/10


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