The Dark Corner (1946) User Reviews (114)

Backed Up In a Dark Corner

[claudio_carvalho · 8/10 · 10 April 2007]

The private investigator Bradford Galt (Mark Stevens) has just moved from San Francisco, where he was framed by his former partner Anthony Jardine (Kurt Kreuger) and unfairly spent two years in jail, to a well located office of his own in New York, where he works with his efficient, witty and very beautiful secretary Kathleen (Lucille Ball). When he invites Kathleen to date and have dinner with him, they see a man wearing a white suit (William Bendix) in their tail. Brad holds the man that tells that he is also a private investigator called Fred Foss and hired by Jardine to follow him. When a car almost hit Brad on the street, he visits and argues with Jardine, who is also a seducer of married women, and they fight. Later, when Jardine is murdered in his apartment, Brad realizes that he was framed. His only lead is the man of white suit, and with the support of Kathleen, they try to find the unknown man to discover who is behind the murder of Jardine.

In the atmosphere of New York in the 40's, "The Dark Corner" has a perfect direction, with the development of the characters in a great screenplay with some magnificent lines (I love Brad telling Cathcart's assistant that he would take the Donatello and asking her to wrap it up.) and a wonderful cinematography. The use of shadows is impressive, highlighting the faces and spaces, like for example when Hardy Cathcart sees his young wife kissing Jardine in the safe. Mark Stevens and Lucille Ball show a perfect chemistry and the villains are very realist in this unknown but first-rate film-noir. My vote is eight.

Title (Brazil): "Envolto Nas Sombras" ("Enveloped in the Shadows")

Framed! And it's NOT for a new house!

[tommythek · 8/10 · 17 September 2001]

Sometimes it seems like it's impossible to avoid being framed for murder. I think we've all had that experience, haven't we? That certainly is Bradford Galt's (Mark Stevens) problem in "The Dark Corner." I should say, it is ONE of his problems. That, along with being constantly annoyed by the cops and assorted bad guys. It's just one of the hazards that come with being a private eye. If you don't believe that, just ask Humphrey Bogart. Among others!

But there can be benefits, too. And in this case, one of the benefits is having the beautiful Kathleen (Lucille Ball) for your ... uh ... private secretary. Furthermore, it can be doubly beneficial when you and your "private secretary" become romantically involved. This role -- Kathleen -- is, I think, one of Lucy's very best from her lengthy pre-"I Love Lucy" movie career. She's beautiful (oh, I said that), she's charming, she's bright (quite un-Lucylike) and, perhaps most important for a private snoop, she helps her man Brad extricate himself from more than one tight spot. And, she's beautiful!

As for those aforementioned annoying bad guys, we have William Bendix and Clifton Webb on hand to annoy His Snoopness. The former THINKS he's a lot tougher than he really is. Better had he known that a tough guy gets much further being the other way around. As for the latter, he, apparently, didn't learn his lesson in "Laura" two years earlier. Too bad. For him.

One of the mildly amusing aspects to this film is Brad's use, perhaps as many as half a dozen times, of the word "shagged." Thanks to "Austin Powers," we now have a new 21st century meaning for that word. But in 1946, in THIS movie, it meant something completely different. And neither meaning has anything to do with rugs. Ahhh, language.

I also find it interesting that the star of this movie (Mark Stevens) took fourth billing. True, although he was both a known and a competent actor, he was never a star of the magnitude of, say, the aforementioned H.B. Which makes me wonder if Henry Hathaway (the director) and Fred Kohlmar (the producer) had a big-name star in mind for the main role but were unable to land same. Thus, did they have to "settle for" Stevens? It would be interesting to learn the background of the casting of this movie and how Stevens came to get the main role and why he was given just fourth billing.

Even so, "The Dark Corner," WITH Mark Stevens, is still one of the better film noirs of the 1940s. And watch out the next time somebody tries to frame you for murder. Maybe it won't be a movie!

Patterned on Dick Powell; great brief scene

[s-hill4 · 8/10 · 20 November 2006]

Mark Stevens a couple years earlier had played a sweet-voiced singer (small role in "Rhapsody in Blue," 1943-45). So when Fox Studio in '46 cast Stevens (4th in name order) as the hard-boiled private detective, they probably hoped Dame Fortune would smile on Stevens the way she did on Dick Powell (former sweet-voiced singer) when he was cast against type as the hard-boiled private detective in "Murder My Sweet" (RKO '44). Not to speak of minor actor Alan Ladd, who had been cast (only 4th in order) as the hard-boiled anti-hero in "This Gun for Hire" (Para. '42) -- and became a super-star overnight. Evidently the 3d time was not the charm, and Mark Stevens didn't strike it rich, the way Dick Powell and Alan Ladd had done... Speaking more positively, I would like to credit what to me is one of the best scenes in the film, combining high drama with plausible psychology. Detective Stevens, totally desperate to find the true culprit before the police catch him, tries a shot in the dark. He visits the "Cascara Gallery," with which he's totally unfamiliar (he's never been there). Awaiting gallery owner Clifton Webb in the latter's office, Stevens encounters a young woman (Cathy Downs), unknown to him, who turns out to be Webb's wife. From this point on, the desperate Stevens must improvise (think on his feet), trying to get the truth out of Downs. With believable uncertainty and hesitation (plus audience suspense), he does improvise, in a way that is dramatically quite satisfying. It's as if director Hathaway went back to the film pioneer D. W. Griffith (celebrated for "photographing thought"), and did the same thing in this one brief scene. Watch this part of "Dark Corner" and judge for yourself. -- Steven P Hill, Cinema Studies, University of Illinois.

Neat Noir Thriller

[harry-76 · 14 December 2002]

"I feel all dead inside . . . Backed up in a dark corner . . . And I don't know who's hitting me."

So Mark Stevens' Brad confesses to secretary-girlfriend Lucile Ball's Kathleen.

This particular dark corner has many angles, shadows and turns, as the two go sleuthing in search of an elusive villain--Clifton Webb's Hardy. Along the way Hardy's "hitman," Stauffer (William Bendix) gets the "ax," as the audience maintains rapt attention.

A nicely turned crime script by Jan Drather and Leo Rosten is given slick credibility by Director Henry Hathaway. The "Manhattan Melody" theme, used in so many New York drama films of the 40s, was first heard here. It was part of Cyril Mockridge's original score, so evocative of "big city pre-dawn street scenes" that it became a motif of dozens of similar efforts.

The film also showed what Ball could do in a straight dramatic role, and she proved quite capable of holding her own. Webb, forever "effete personified," offers a polished performance, while Bendix contrasts as the perfect "mug."

A "whodunit" worthy of a studio that produced loads of neat "forties thrillers": 20th Century Fox.

The Puppetmaster----Clifton Webb

[bkoganbing · 7/10 · 20 October 2007]

The Dark Corner of the title refers to the fact that our hero/protagonist Mark Stevens has himself in a situation where he's being manipulated and he can't see who's doing the manipulating.

To begin with Stevens has a grudge against former partner Kurt Krueger who when they were private eyes together, Krueger was doing a little blackmail on the side that innocent dupe Stevens took a fall for.

But elegant art gallery owner Clifton Webb has a much bigger grudge against Krueger. You remember Webb in his role of Waldo Lydecker in Laura and how obsessed he was with her. In The Dark Corner, he's married his obsession in the person of Cathy Downs. Krueger has been up to his old tricks romancing Downs on the side and Webb, learning of Krueger's previous troubles with Stevens has constructed an elaborate scheme to have Stevens blamed for Krueger's murder.

Webb for all his elegance and brittle sophistication proves to be a cunning foe. Stevens gives a good portrayal of a man trying desperately to find out who's pulling the puppet strings. He's aided and abetted by girl Friday Lucille Ball in a nice dramatic performance, unlike what we've come to expect from here. She proves to be of immense assistance to Stevens and it's her as well as some unforeseen breaks that enable him to figure out what's going on.

Of course the ever dependable William Bendix was borrowed from Paramount and radio's Life of Riley to serve as Webb's trigger man and muscle. Bill Bendix was never bad in anything he did and this is no exception.

The Dark Corner is a fine noir film, a great change of pace for Lucille Ball and a great followup second film for Clifton Webb to succeed Laura.

B+ Movie

[Lejink · 7/10 · 30 July 2008]

On paper, a run-of-the-mill film noir, with familiar plot exposition and stock characters but executed well enough to make the whole an above-average thriller. The story has all the pulp-fiction hallmarks you would want, including a smooth womanising playboy who lives dangerously as he cuckolds an older wealthy businessman by having an affair with his young, pretty wife, a tough-talking private eye assisted by his sassy, attractive secretary and a tough "heavy" to give us the obligatory fight scenes too. Okay, so the main characters appear to be facsimiles of A-movie prototypes, with Clifton Webb not quite as venal as Claude Rains, Mark Stevens not quite as hard-boiled as Alan Ladd and Lucille Ball not quite as alluring as Lauren Bacall but they commit so well to their characters that a fairly preposterous narrative becomes gripping and involving throughout. Much interest of course will come from perusing the young and surprisingly attractive Lucille Ball in an early role, before her looks became slightly hawkish in her later years and of course she developed that voice! In a high-class acting ensemble, she just about takes the plaudits. Seasoned director Hathaway further elevates matters with some choice flourishes of his own, with effective use of trademark noir devices as reflecting shots in mirrors, dark interiors and obligatory interplay of shadow and light, particularly a scene where the adulterous couple are caught out by the husband in silhouette. The dialogue again isn't quite up to Chandler standard and modern-day viewers aware of "Austin Powers" will smile at the innocent, occasional use of the word "shagging" throughout, but the actors bite into their words with conviction as the twisting plot reaches its satisfactory "loose ends all-tied-up" conclusion. As a devotee of film noir, I was pleasantly surprised and not a little pleased to discover this little known gem hiding away in the early hours of extra-terrestrial TV.

Here's A Nickel. Now Shut Up!

[rmax304823 · 7/10 · 20 January 2014]

The first time I saw this, years ago, I thought it was a little torpid. At the opening, when private investigator Mark Stevens slaps the dumb hood William Bendix around, why doesn't Bendix fight back? Then there is Stevens' pushy new secretary, Lucille Ball. Are we in for a romance? Now I don't know why I was bored because, on second viewing, it looks pretty good to me. Maybe all those Charlie Chan movies I saw in the interim have led to successive contrast. This is pretty good noir. The plot itself is nothing that you wouldn't find in a B feature detective story, but just about all of the other elements come together. There is a good woman, yes, but there's also a bad woman. And there is stark lighting, location shooting in New York, despair, shadows, intrigue, murder, frame ups, and well-drawn characters.

Where else can you find a line like, "I feel all dead inside. I'm backed up into a dark corner and I don't know who's hitting me." I don't want to get into the plot too deeply because it meanders around quite a lot, like most of these tales. Stevens and Ball are searching for someone who is out to frame Stevens for the murder of a man who had previously framed Stevens for another crime, of which Stevens was innocent. You see what I mean about the plot being tortuous.

But -- plot aside -- the photography by Joe MacDonald is excellent. Whatever criticisms may be made of the old studio system, there were giants in the earth. MacDonald was also responsible for shooting "My Darling Clementine" and "Call Northside 777." Except for a little "Manhattan Serenade" under the credits, there is no overscore. All the music in the film comes from some source -- a nightclub band, somebody practicing the piano. It's what Franz Waxman did for "Rear Window." The dialog is divided into three levels: that spoken by Clifton Webb, the aesthete owner of an art gallery; that spoken by ordinary people like Stevens and Ball; and that spoken by roughnecks like William Bendix.

Webb gets much better lines than in his other pouf roles, including "Laura." Samples: "I detest the dawn. The grass always looks like it's been left out all night." When an elderly lady remarks that a painting "grows on you," Webb's arch riposte is: "My dear, you make it sound like some sort of fungus." Bendix, the thug, is careless in Webb's office and Webb says sharply: "And stop flicking your ashes on my carpet. That's a genuine capuchin." (Webb uses the French pronunciation of "capuchin" and I had to look it up in Wikipedia to find out what the hell he was saying.) Webb's wife -- Cathy Downs, who can't act -- protests that her paramour would never run off with that other lady because he loathed her. "He loathed her rather intimately, I'm afraid."

Level two -- ordinary language -- doesn't get the same number of zingers, but here's a sample. Stevens was convicted of a crime of which he was innocent. Now, someone has left a dead body in his apartment. When he discovers he's been set up yet again, Steven puts his head in his hands and remarks, "I can be framed easier than whistler's mother."

The screenwriters, Dratler and Schoenfeld, don't get a pass for level three, the patois of the underclass. It sounds as if they've been reading twenty-year-old pulp magazines. They over reach and you can hear the creaking of joints as they do: "I need two yards for powder money." That translates as "I need two-hundred dollars to take a powder (ie., get out of town)."

Stevens is surprisingly effective. He's not really very expressive but he does "anxiety" much better than Bogart ever did.

Ball, Webb, Bendix and Stevens in satisfying - and smashing looking - noir

[bmacv · 9/10 · 30 August 2003]

It's a loss to the noir cycle that Lucille Ball never got to exercise her widely underestimated acting (as opposed to comedic) skills as a femme fatale; she might have gained entry to the Bad Girls' Club. She did, however, lend her welcome presence to three film noir: Two Smart People, Lured, and, the first and best of them, The Dark Corner.

She plays the new, spunky receptionist to private eye Mark Stevens (and gets top billing; logically the star, Stevens comes only fourth in the titles). Once framed into a manslaughter charge in San Francisco, Stevens has come east to start over with a clean slate. But he's being measured for an even bigger frame. White-suited William Bendix is the cat's-paw in a plot to goad Stevens into murdering the old partner who set him up (Kurt Kreuger).

Kreuger, however, isn't even aware that Stevens is out of prison and in New York; he's too busy romancing the young wife (Cathy Downs) of rich art-gallery owner Clifton Webb (she sits around bored, listening to `his paintings crack with age'). Webb is the puppet-master behind the elaborate scheme to eliminate his younger, more virile rival. When Stevens comes to on the floor of his apartment with a poker in his hand and Kreuger bludgeoned to death next to him, he, with Ball's help, must race against his inevitable arrest to find the real killer.

The story flits between two Manhattans: The shabby cityscape of penny arcades under the El and flats that open up onto fire escapes, populated by Stevens, Ball and Bendix, and the haut monde of ritzy galleries and high-ceilinged, richly upholstered apartments inhabited by Clift, Downs and Kreuger. Spanning the gap is the unholy alliance between the coarse Bendix and the p***-elegant Webb, reprising his Bitter Old Queen number from Laura and The Razor's Edge (though again, as in Laura, we're asked to swallow his obsession with a beautiful...woman half his age).

While maintaining a deft balance, the plot weighs in as quite a brutal one (Webb's quick dispatch of Bendix proves quite startling). Despite this role and The Street With No Name, Stevens never quite became the noir icon - like Ladd or Bogart or Mitchum (or even like Powell or Ford or Ryan) he seemed destined for, but he's persuasive enough as a man strained to the limit by forces he can't fathom.

Henry Hathaway directed, but the black magic comes courtesy of cinematographer Joe MacDonald. He ably lighted a number of estimable noirs (Street With No Name, Call Northside 777, Pickup on South Street), but here his work surpasses itself. When Ball and Stevens embrace, he turns a two-shot into a four-shot by placing them in front of a fireplace mirror; we see her face in the foreground, his in reflection. In plot, writing and direction, The Dark Corner falls just short of the finest entries in the cycle. But in its strikingly composed photography, finely filigreed with shadow, it could be shown at a gala opening in Webb's high-priced gallery.

A Case of Dark Intrigue in the Big Apple

[Uriah43 · 6/10 · 14 December 2020]

This film begins with a private detective from San Francisco named "Bradford Galt" (Mark Stevens) who has had to relocate to New York after being framed for the death of an innocent man by his former partner "Anthony Jardine" (Kurt Krueger) who he had caught engaging in illegal activity. Naturally, having spent some time in prison Bradford wants nothing more than to put the entire episode behind him and get on with life. Unfortunately, when he catches a thug by the name of "Fred Foss" (William Bendix) following him and discovers that he was hired by Anthony Jardine he realizes that things aren't going to be quite that simple. What he doesn't know, however, is that there is much more intrigue of a very sinister nature about to unfold and through no fault of his own he is caught right in the middle of it. Now rather than reveal any more I will just say that this was a surprisingly good detective film which includes several twists and turns along the way. It also features Lucille Ball (as "Kathleen Stewart") in a serious role as Bradford's secretary as well. In any case, I recommend this film for those interested and have rated it accordingly. Slightly above average.

I'll take the Donatello. Wrap it up!

[jotix100 · 9/10 · 18 April 2005]

"The Dark Corner" turned up the other night on cable. This is a film that should be seen more often. For one, we get great views of the New York of 40s. Most of the action was photographed, brilliantly, one must add, by Joe MacDonald with the old 3rd. Avenue El as a background. Henry Hathaway's direction was inspired.

Brad Galt, the gumshoe at the center of the story, has come to New York to get away from an unsavory past in San Francisco. He was on the right track in establishing the detective agency he runs, helped by his attractive gal Friday, Kathleen. Trouble seems to find Brad, no matter where he goes. When the apish Fred Foss appears, dressed in a white suit, we know we're in for a rough ride.

Brad is being framed, but he has no clue, except to think, Jardine, the suave lawyer, is responsible for it. Little does he know there are higher ups that want to pin a murder on Galt. With the help of his kind secretary, Kathleen, this pair embark in a voyage of discovery where a few surprises await them.

"The Dark Corner" is a fine example of a film noir, enhanced by the background shots of Manhattan. Mark Stevens, as Brad, makes a good attempt to portray Brad Galt, the man who wants to play it straight after his run in with the law. The biggest surprise of the film was the wonderful Lucille Ball playing the secretary. Ms. Ball was an accomplished actress who was basically seen in comedy, but as this film shows, she could play anything.

Clifton Webb turns up as Cathcart, the art gallery owner. There is a great scene at the vault where some art pieces are kept, after taking a few clients to see the new Raffael (that looks it could have been painted on velvet), Cathcart sees the shadows of his wife, and his partner in crime, Jardine, in a passionate embrace as both kiss. The other great moment in the film also involves the art gallery. When Brad, who has finally arrived at the gallery late, asks the assistant how much would the Donatello statue would cost, and she answers "Forty Thousand". After that, he asks her how much would the pedestal would cost! Obviously, he couldn't afford either the work of art, or where it rested! In minor roles, William Bendix makes an impression in playing the evil Fred Foss. Kurt Kreuger is seen as Jardine and Cathy Downs plays the deceiving wife, Mari.

"The Dark Corner" is a film that will not disappoint the viewer, thanks to Henry Hathaway's direction and the work of this cast, but especially watch out for Ms. Ball, she does amazing work!

Dark Roots in Film Noir

[wes-connors · 7/10 · 14 February 2010]

After serving time for involuntary manslaughter, private investigator Mark Stevens (as Bradford "Brad" Galt) relocates from California to New York, and sets up shop. Attracted to new secretary Lucille Ball (as Kathleen Stuart), Mr. Stevens takes her out for dinner and dancing. During their date, Stevens and Ms. Ball are followed by a white-suited William Bendix (as Stauffer). Stevens thinks Mr. Bendix may have been sent by former business partner Kurt Kreuger (as Anthony "Tony" Jardine), who is having an affair with Cathy Downs (as Mari), the beautiful wife of wealthy art dealer Clifton Webb (as Hardy Cathcart).

Director Henry Hathaway and 20th Century Fox get far more than they bargained for with this unheralded crime drama. Though he is billed fourth, Stevens does well in the lead. "There goes my last lead," he says, "I feel all dead inside. I'm backed up in a dark corner, and I don't know who's hitting me." Ball is startlingly good, in an atypical role. Conversely, Mr. Webb and Mr. Bendix succeed by reprising familiar characterizations (in "Laura" and "The Glass Key"). Joe MacDonald's black-and-white cinematography is the film's most obvious strength. And, you get a moderate dose of queenly Constance Collier (as Mrs. Kingsley).

******* The Dark Corner (4/9/46) Henry Hathaway ~ Mark Stevens, Lucille Ball, Clifton Webb, William Bendix

Lucy's Best Dramatic Role?

[theowinthrop · 9/10 · 13 August 2006]

Lucille Ball did something novel for 1950s television. Halfway through the phenomenal run of I LOVE LUCY, she moved the New York City based story line to Hollywood and this allowed her to make a series of shows with guests. Many had not appeared with her in film. Several did appear in movies with her: Harpo Marx (ROOM SERVICE) and William Holden (MISS GRANT TAKES RICHMONE). But one figure did not appear who one misses. Clifton Webb.

To be fair neither did Mark Stevens (Ball's co-star) nor William Bendix (then in his own rival television show, THE LIFE OF RILEY). Still it is odd that Webb never showed up. The only clue I have ever found about this I heard about year or so ago: in the 1930s Webb was in a Broadway show with William Frawley, and the two had some type of run-in, leading to Frawley punching Webb in the face. Possibly Lucy felt that made such a casting impossible.

Webb had made his memorable entry into film in 1944 as Waldo Lydecker in LAURA. Then nothing happened for two years. Then he made THE DARK CORNER and the first version of THE RAZOR'S EDGE. His role as Hardy Cathcart, the wealthy art and antique dealer is rather like that of Lydecker. Cathcart is, basically, an effete interior decorator, with a trophy wife (Cathy Downs) rather than an effete newspaper/radio personality and critic with a trophy friend.

There are differences though. Waldo is one of several suspects in LAURA. But in THE DARK CORNER, we are quickly aware of the villain of the piece: Cathcart is planning to frame detective Bradford Galt (Stevens) for the murder of Anthony Jardine (Kurt Krueger) who once framed Galt in California. Jardine has been carrying on an affair with Mari Cathcart, thus exciting her husband's anger. Cathcart sees that Galt is a perfect patsy. He uses a crooked private eye named Stauffer(William Bendix) to set up Galt to be left in his rooms with the body of Jardine. Galt's only hope is his secretary and lover Kathleen (Lucille Ball) who can help gather information when the police are looking for the hiding Galt.

Like many film noir (including LAURA and DOUBLE INDEMNITY) if one looks at the plot carefully there are so many holes in it as to make anyone putting it into effect look insane. Why go to such an elaborate plan against Jardine and Galt, when it is simpler to just make Jardine disappear? You double the chances of a plan failing if you actually complicate it's mechanism with some type of frame-up as attempted here.

Yet the film works. Lucy never played a female girl Friday in any other major film, and this may be her best performance, especially when describing the confused feelings she has regarding the dire situation she and her lover are in. Only her performances in LURED and THE BIG STREET may have been better dramatic ones, but the former was a remake of a better French thriller, and the latter was marred by too much garrulousness and sentimentality (although some of the color from Daman Runyon's stories and characters was a plus).

Also, the film benefited from Stevens as the gumshoe, who worked well with Lucy. They genuinely seem concerned about each other's safety. Cathy Downs' Mari Cathcart is more limited, spending much of her screen footage mourning the loss of her lover, and only coming out of it (with deadly results) at the conclusion of the film.

Bendix always gave competent and expert performances, and his sleazy detective is unexpectedly realistic (even if the plot against Stevens is not). He turns out to be a tough customer, even willingly accepting a working over by Stevens before knocking him out when setting him up. But for all his toughness he turns out to be surprisingly too trusting and naive regarding his boss. As for the boss, Webb makes the art dealer seem quite untrustworthy and blasé from the first, when he comments on not liking the grass in the morning as it looks like it has been left out all night.

But my favorite piece of business in the film is a joke scene of Bendix and Webb plotting mischief. Webb has insisted that Bendix not see him in his office (he wants no witness showing up who saw Bendix at his office). But Bendix has insisted on visiting him inside his office. Webb sees no possible way out, and they are in his office. All around are these costly antiques, but Bendix does not care. He is smoking his cigarette, while Webb stares at him with anger and fear. He does not recall planning to let the Detective invade his personal office. So Webb listens while Bendix spells out why he needs more cash. But gradually we see Webb's eye wander away from Bendix's face to his hand and that cigarette with the growing ash. Finally, Webb blows up - he won't continue talking to Bendix until he puts the cigarette out in the ash tray on his desk. You see, he does not want the idiot to drop an ash on the antique Persian carpet on the floor! That is more important than Bendix's bellyaching about fleeing town, and needing cash.

It was a neat follow-up to Laura. And then came THE RAZOR'S EDGE, which allowed Webb to play his high strung heroes/anti-heroes for laughs. After 1946 (as I said earlier) the job offers were far more frequent than they had been. Webb's star was now in ascendants.

Should be better known

[gsygsy · 7/10 · 25 August 2014]

Lucille Ball's name raises obvious preconceptions, but - apart from displaying her unquestioned skill with a one-line put-down - she plays it admirably straight in this nice film noir. In spite of Lucy's top billing, she's by no means the lead. That honour goes to Mark Stevens, who is little-heard of today but who is good value as the private dick with a past.

Clifton Webb and William Bendix are on hand to contribute their expertise. The art direction and lighting are a treat. Director Henry Hathaway was in his heyday, keeping a tight grip on pace, and displaying a surprising interest in sound editing - listen to the way the instruments of a jazz band advance and retreat on the soundtrack as the camera passes them in and out of shot.

The last reel hurries the plot a little, as if a producer was keeping a beady eye on the running time. But that apart, there's not much to fault. Strange it's not better known.

film, nah.

[onepotato2 · 4/10 · 14 February 2008]

This looks great. The print is super clean. Money was clearly spent on renting good locations, and time spent on beautiful shot set-ups (cinematography by Joe MacDonald). But even with authentic noir trappings, it suffers by comparison with better examples. Fourth-billed protagonist (?) Mark Stevens has a terrific-looking angular noir face. Lucille Ball is sincere but just too lightweight; and her character is certainly not the typical noir female which would be fine except she's kind of a dumb, wide-eyed pest, like Nancy Drew. Her character pretty much cancels any sense of threat from whih the movie might have benefited.

You might go for this in the early reels, before the script has clumsily introduced too many characters, and then clumsily places them in boilerplate noir scenes that don't really add up to much, or generate much tension. It's like there was a secret order on the production to refer to, and rip off 'Out of the Past' & 'Laura' while switching milieus to the art world. It feels slightly better than the 3 Stooges doing a spoof of 'The Maltese Falcon,' but only by a little. And only because old hands like Clifton Webb (playing yet another runty snot) and Constance Collier are on hand to lend gravitas to the newbies. I haven't been too impressed by noirs where Webb is the heavy. He just doesn't impress me.

I might not have noticed the cut-rate script if certain pivotal moments weren't so poor. In one early scene, Bendix and Ball are at a diner after a car has run him down, and he says, "I have a police friend... I'll call him, he'll look into it... and then he'll call me back." Yes, that's typically how a labor-invoking request works. Say... you're a two-timing wife; do you really take time to kiss and canoodle with your lover in an art-vault while your husband is waiting outside 6 feet away to lock the room? The screenwriter grasps at how to construct these moments. I was laughing during the climactic shooting when a gal plugs her hubby and then tosses the empty gun at him, but throws it like a girl.

A Study In Contrasts

[Lechuguilla · 5 April 2006]

Mark Stevens plays Bradford Galt, a depressed, New York City private investigator who is trying to forget his troubled past. But someone is tailing Galt for reasons unknown. Lucille Ball adds charm and flair to the story as Galt's faithful, resourceful secretary who invites herself into the detective's dilemma, which eventually leads to a wealthy art collector named Cathcart, played by the suave, and always engaging, Clifton Webb. It's a sordid tale of deceit and murder, expressed visually in typical 1940's film-noir style.

Galt's surroundings are drab and dreary, in marked contrast to the lush, opulent environment of Cathcart and his elitist friends. Director Henry Hathaway leaves no doubt as to where his sympathies lie. It's the late 1940s, and the proletariat class, represented by Galt, is honest and hard working, and up against society's corrupt rich.

In contrast to other film detectives of that era, like Philip Marlowe and Sam Spade, Galt is somewhat plaintive and vulnerable, but these traits make him more sympathetic, even though he can deliver a mean punch when called for.

The film's high-contrast B&W cinematography is striking. It emphasizes harsh lighting, deep shadows, and two-dimensional silhouettes. This visual style, together with occasional sounds of jazz, conveys a dissonance we would expect in a post-WWII environment of the urban underworld. When combined with a story of one man up against sinister forces, these cinematic elements, taken as a whole, communicate a philosophy of existentialism.

For viewers who like heavy-duty 1940's noir films with interesting characters, good acting, and striking cinematography, "The Dark Corner" is one of the better choices.

Solid film noir has Mark Stevens in "a dark corner"...

[Doylenf · 7/10 · 27 April 2009]

Henry Hathaway directs a very stylish film noir that takes advantage of some location shots in New York City to provide some gritty realism. The story is something out of a pulp detective novel with hard-boiled MARK STEVENS finding himself in a dark corner after a brush with the law and some cheating by his ex-partner KURT KREUGER.

His beautiful secretary is well played by LUCILLE BALL in a rare dramatic role and she does fine as the gal who stands beside her man when he's knee deep in trouble and wants to clear himself of a frame-up.

*****POSSIBLE SPOILER AHEAD*****

CLIFTON WEBB is the art gallery owner whose role in the web of deception isn't fully revealed at first, reminds me of his Lydecker character from "Laura," again obsessed by a beautiful woman, this time his wife CATHY DOWNS. All hell breaks loose when he realizes that Downs is cheating on him with Kreuger.

WILLIAM BENDIX is one of Webb's pawns, tracking Stevens and making him think that Bendix is the bad buy behind all the bad stuff happening to him. One of the film's most shocking sequences has Webb inviting Bendix to meet him at his dentist's building where he has an appointment. I won't reveal more than that.

Summing up: A good, solid film noir that has many attributes of stories like "Laura," filmed in shadowy style.

Drawback: Stevens is not quite as convincing in hard-boiled detective mode as someone like Alan Ladd in these sort of roles. He's much more believable in the many "nice guy" roles he played at Fox. However, his chemistry with Lucille Ball is good.

Interesting and Striking Noir

[ksneath · 7/10 · 7 September 2012]

This fine example of Film Noir differs from many in that the film is rather more plot-driven than character-driven. This is not to say that the characters are flat, but simply that the mechanics of the film focus first on telling the story. As such, you don't get unforgettable personas common to many top-tier noir films (like The Big Heat or Double Indemnity for instance). However, what you do get is an intriguing picture that keeps your interest throughout its 99 minute runtime.

The cinematography is classic noir, full of deep shadows and interesting compositions. Another fairly uncommon aspect of a movie with these elements is that it continually alternates between very seedy, grimy locations and high society venues, providing an interesting contrast in social spheres, but maintaining the same dark, foreboding mood in both.

Although the cast is not full of top-billing names, the principle characters are solid and fit well within the story. Of course it is fascinating to see Lucille Ball in a pre-Lucy role, playing a straight part to good effect (for another good early role, see "Lured"). Stevens, while occupying the part of the leading man, gives an appropriate if still forgettable performance. Bendix and Webb combine with very different roles to make good antagonists, while the little-known Cathy Downs glows with a classic femme-fatale beauty.

All-in-all a good movie that sparkles with noir lighting in addition to a good plot which should hold your interest throughout. Recommended.

Good story line so it was used again

[woreill58 · 7/10 · 30 June 2009]

This was well done with a very good and competent cast- and William Bendix is in great form as a sleazy detective and hit man. I guess 20th Century Fox or some researcher liked the movie as well since the same story line with many similar situations was used in an episode of the 1960 TV series "Hong Kong" (also from 20thC Fox)with Rod Taylor in the same situation as Mark Stevens. Given that "Hong Kong" was a one hour show the action is crisper and Rod gets himself out of trouble in less time that Mark did in 1946. That episode of "Hong Kong" was entitled "Suitable for Framing". It also starred Julie London as his helper - although she was a singer, not a secretary. Both play very well and are certainly worth watching - assuming you can find good copies of "Hong Kong" somewhere. If you can you are in for a treat.

"...I can get brand new tough guys for a dime a dozen."

[classicsoncall · 8/10 · 6 March 2016]

Sometimes a good noir film will sneak up on you when you're not expecting it. The presence of Lucille Ball is a tempting inducement to catch this flick with it's questionable characters and compelling story line that forces one to pay attention or you'll miss out on why Bradford Galt (Mark Stevens) wound up on the wrong side of so many precarious situations. I thought secretary Kathleen Stewart had her boss pegged pretty well when she told him, "You should have William Powell for a secretary".

As a product of it's times, I couldn't help wonder what most passersby on the street would do today if they saw someone run down by a vehicle in broad daylight. Probably pull out the camera phone and post the video on youtube. Either that or just walk right over the body if it's in the way. Lucky for Galt it was 1946. Speaking of which, recall right after Galt had the scuffle with Jardine (Kurt Kreuger) (featuring a great backward tumble over a desk and right into a chair!), Kathleen notes that his jacket was torn, but it was ALREADY torn from hitting the pavement to get away from Foss's/Stauffer's (William Bendix) car. How did she miss it the first time?

Something else curious caught my eye as well. How about that newspaper ad touting the Cathcart Galleries exhibition - it was by Invitation Only. Why then would it be mentioned in the paper?

OK, here's one more. After the William Bendix character worked over both Jardine and Galt in Jardine's apartment, Kathleen Stewart arrives and in helping Galt straighten up a bit, she places a lighted lamp back on a table, but when Foss/Stauffer ransacked the place and left, the room was dark with no lights on anywhere.

None of these little inconsistencies really bother me, it's just that it's fun to pick up on them when they show up in a picture. They all take a back seat in this instance though to the story's mystery, masterfully filmed with what most would consider a great example of glorious black and white cinematography. I had to groan however when Stauffer placed himself right in front of that wide open window when he met Hardy Cathcart (Clifton Webb) for his payoff. If you didn't see that one coming, a few more films might be in order.

I caught this picture on one of the cable stations and perhaps the real puzzler was why the Donatello statue had the breasts obscured. You know, the one Galt told the museum staffer to wrap up. I mean really, it's now more than a half century later and you're bound to see more suggestive material on most any other channel. On that score I have to agree with William Bendix, that was a real busto-crusto.

He's in a dark corner and he doesn't know who's hitting him.

[hitchcockthelegend · 7/10 · 16 November 2009]

Private investigator Bradford Galt has a troubled past, starting afresh in New York, it seems the past is back to get him though as an old nemesis may be out to kill him? But, aided by his intrepid secretary, Kathleen, he intends to get to the bottom of the shady mystery that's lurking in the dark corner.

Henry Hathaway (Kiss of Death/Call Northside 777) directs this very tidy Noir/Crime picture that stars Lucille Ball, Clifton Webb, William Bendix and Mark Stevens. Expertly photographed by Joseph MacDonald, The Dark Corner has a plot that although simple to follow, has a few tricks up its sleeve along the way. Though it ultimately amounts to really being a race against the clock "whodunit," as opposed to a gritty web of deceit, there's dashes of brutality and pinging dialogue to ensure that interest is held for the viewer right up to the finale. Hathaway and MacDonald utilise the Manhattan setting to the max, be it the more affluent side of the story involving Webb's art gallery, or the down and dirty penny arcade streets where the likes of William Bendix prowl. Fine settings that are given a shadowy sheen by the talented makers. The cast are strong, particularly Lucille Ball as Kathleen and the little snatches of jazz in the score heighten the mood.

Recommended with confidence for fans of Noir/Crime/Mystery movies of the 40s and 50s. 7/10

Three Times A Target

[seymourblack-1 · 8/10 · 23 December 2008]

In "The Dark Corner" Bradford Galt (Mark Stevens) is a tough private investigator who's been a victim of a gross miscarriage of justice and who, after having served a two year prison sentence, finds himself in circumstances which lead him to believe that, once again, he is being set up to be a fall guy. His natural despair is heightened by the fact that he's neither certain of what the crime is or even who's pulling the strings. Galt finds himself targeted three times in this movie, twice criminally and once romantically. His romantic involvement is with his secretary Kathleen (Lucille Ball) who remains supportive and positive throughout and especially during his darkest moment when he says that "I feel all dead inside, I'm backed up in a dark corner and I don't know who's hitting me".

After having served his sentence for manslaughter in California, Galt relocates to New York and shortly after setting up his new office, he and Kathleen are out one evening and realise that they are being tailed. Later, Galt pulls a gun on the man in a white suit who'd been following them and from his personal effects sees that his name is Fred Foss (William Bendix). After Galt roughs him up a bit, Foss admits that he's working for Anthony Jardine (Kurt Kreuger). Jardine was Galt's ex-partner and the man who'd framed him for the manslaughter charge.

In a later incident, when Galt is crossing a road, a car drives straight at him and he leaps out of the way just in time. A trace on the number links the vehicle to Jardine's current address. This together with the information obtained from Foss convinces Galt that Jardine is intent on finishing what he started in San Francisco.

After coming to a series of dead ends, such as finding out that the real name of the man in a white suit is not Fred Foss and that he doesn't work for Jardine, Galt's investigations lead him to the private art gallery owned by Hardy Cathcart (Clifton Webb). Galt remembers his ex-partner as a womanising barrister who does a little blackmail on the side. It soon becomes apparent that Jardine, who is now a member of Cathcart's coterie, is still indulging in exactly the same activities in his new surroundings. This time, however, the main focus of his attention is Cathcart's significantly younger wife, Mari (Cathy Downs).

Galt visits the gallery posing as a potential buyer and conversations with Mari and Hardy Cathcart explain the circumstances that led to the harassment that Galt had suffered and the story's dramatic denouement follows.

Some fine chiaroscuro lighting, nocturnal street scenes and shadow patterns created by venetian blinds contribute to the mood of the piece. The camera's propensity for lingering on the leading lady's legs is typical of a trend which was prevalent during the period in which the movie was made ("The Postman Always Rings Twice" and "Double Indemnity" contain similar sequences). The most arresting image, however, is created by using two film noir staples, the mirror and the double. When Galt and Kathleen embrace, the viewer sees an image of the couple on the left hand side of the frame with Kathleen's face and Galt's back in view. The position of the mirror then also creates a similar image on the right hand side of the frame with, of course, Galt's face and Kathleen's back in view.

Clifton Webb gives a very mannered performance as Hardy Cathcart, a man who is habitually disdainful of the ladies in his social circle and who often makes snide ripostes to some of their remarks. His obsession with the beauty of his wife also seems based more on the pleasures of acquiring and owning things of perceived beauty (like the contents of his gallery) rather than in the more conventional attractions of such a relationship.

Stevens and Ball generate genuine warmth in the depiction of their relationship with some running banter about nylons and his obvious attraction to her being tempered by occasional advice that, in view of his predicament, she would be wise to get out for her own good. Her devotion to him and ultimate intentions are made clear by numerous remarks about "playing for keeps" and statements such as "you've aroused the maternal instinct in me". In view of the significance of Stevens' role, it seems an injustice that he was only given forth billing for this movie but, presumably, this was because of studio protocol.

Undercard For Fox Double Features of the 1940's

[DKosty123 · 7/10 · 7 March 2009]

This is a solid film noir entry from the mid-1940's with a well known cast but it was made as clearly an double feature type of film by FOX. Lucille Ball is pretty good as the star in a serious & glamorous role as the secretary to a private detective who has been in trouble and get s framed into more serious trouble in this feature.

William Bendix is a sort of elusive type of man who wears bright white suits while trailing after Lucy's boss. The film does a film film noir type of quality to it. Fox did put more budget into this one than the typical under-card being produced at RKO at the time.

The biggest twist in this one is at the end when the girl (Lucy) gets the guy, her boss. Uusally in this type of film, the hero gets away by his wits and gets the girl. This one in a obvious ploy has Lucy help with the wits and she becomes more than the typical glamor girl in this plot.

The most satisfactory piece of this film is seeing Lucy doing something different than the comedy we are most comfortable with, and coming off as satisfactory in the process.

A Noir that Keeps Delivering the Goods

[jthelin · 9/10 · 24 July 2007]

A personal favorite in the film noir genre, I've seen it many times (especially now that I own a copy on DVD) – and have yet to tire of it. Mark Stevens strikes the perfect tone as the man behind the eight ball, a near-requirement for noir. Curiously, there is no femme fatale to play opposite him. Lucille Ball serves as his spunky, loyal, and creative secretary while Cathy Downs, as Mari Cathcart, might be considered a femme fatale – but to whom? Her less-than-forthcoming lover (acted as suave but slimy by Kurt Krueger) or her obsessively murderous husband (oh, Clifton Webb, another erudite role for him: "I detest the dawn…it's as if they rolled up the grass at night" – or something to that effect)? We can understand Webb/Cathcart's obsession since Ms. Downs, only 22 at the time, was quite stunning. There is a stylish, sensual long shot of her in her dressing gown that reveals her curves. Webb, naturally, is looking at her, a near voyeur. But then we do the same – total voyeurs.

The film is suitably dark in a number of ways. Much action takes place at night, whether it be at a carnival (a carefree time spoiled by the menace of a tail on Stevens/Ball, oddly enough in a white suit) or on the gritty streets of Chicago (some actual El shots were used). The photography has a nice, grimy look to it. It's not the crystal clear B&W you can find in other films. And Stevens' detective is, for almost the entire picture, in the dark, not knowing who or why someone is setting him up to take the fall for what? That, too, takes a while to discover.

I like that the film incorporates the world of art (galleries) so thoroughly. The contrast between Stevens' world and the money & jewels dripping off the art-conscious socialites is quite compelling. (I wonder if Dario Argento was aware of DC's use of the art world since he deploys it in several of his own thrillers, notably "Bird With a Crystal Plumage" and "Profundo Roso.") Stevens tried to bridge the gap by stepping out with Ball to a night club. But they can't even get through one dance… Hathaway keeps the pace restless, tense, and unnerving.

You owe it to yourself to catch this flick. It holds up as noir in specific and as fine film making in general – after sixty years!

"I can be framed easier than 'Whistler's Mother'."

[bensonmum2 · 6/10 · 16 February 2006]

The Dark Corner is the story of a P.I. framed for the murder of his ex-partner. Not only does he appear to have had the opportunity to commit the crime, he also has a very good motive. The partner was responsible for the P.I.'s two-year stay in prison. But who's the real murderer? With the help of his plucky girlfriend, the P.I. has to get to the bottom of this case before the police find the dead body and send him back to prison.

I've seen several wonderful noirs lately that have become "new" favorites, but I can't include The Dark Corner on this list. It's good, but it's just not great. Much of the blame has to be put on the P.I. as played by Mark Stevens. He is one of the most un-charismatic characters of this type I've seen. For the movie to work, you have to care about his plight and I just couldn't feel anything for him. If it weren't for his secretary/girlfriend, I doubt he would have ever been able to clear himself. He's just doesn't seem that bright or ambitious enough to pull it off on his own. I'm not that familiar with him, but if this is the way Stevens played characters in his other films, it's no wonder he never became a big star.

The rest of the cast is generally good with a real standout performance from Lucille Ball (yes, the same Lucy who would go on to eat chocolate off a conveyor belt and stomp grapes with her bare feet). I had no idea Lucy could "play it straight". She's wonderful. I'll have to track down some of her other early film roles. Other cast members include William Bendix as a big bruising heavy and Clifton Webb basically reprising his role from Laura. But as good as each of these actors are, they never felt like more than actors. The roles were too stereotypical to be as believable as I would have preferred.

One of the highlights for me is the feel and look of The Dark Corner. The film has a dark, gritty feel to it that adds to the characters' desperation. Lighting and cinematography are more than adequate. Director Henry Hathaway has given The Dark Corner a mood and atmosphere second to none. And, as a bonus, The Dark Corner includes some wonderful on-location shots of New York City in the 40s. Forget about studio sets when you can film in the real thing.

Corny and confusing

[AAdaSC · 4/10 · 18 May 2010]

Brad (Mark Stevens) tries to work out why Fred Foss (William Bendix) is following him. He does this with the help of his secretary Kathleen (Lucille Ball). The story involves a former acquaintance of Brad's, Anthony Jardine (Kurt Kreuger), an art-collector, Hardy (Clifton Webb) and his girlfriend, Mari (Cathy Downs). Brad is framed for murder....

This film is confusing. We are never given the explanation as to why anyone would want to go after Brad in the first place. The betrayal that motivates the murder doesn't take place till half-way through the film, so what on earth is the first half of the film about! Lucille Ball has no role of any substance and Mark Stevens is just not hard-looking enough to carry off a hard-man role. It's laughable when he threatens Bendix and Kreuger at different stages in the film - no way, mate, they'd both kill you! Webb is always dependable to deliver cutting lines but Downs is pathetic in a femme-fatale role - she doesn't cut it.

As for the dialogue - ??! Every cliché that you could ever imagine. Expect lines from the cheesy like "I can be framed easier than Whistler's mother" and "One thing led to another, and he led with his right" to the stupid "I'm clean as a peeled egg...." It's endless. You go 2 ways with this. 1 - you take it as a joke and laugh all the way through the film; 2 - you listen to the dialogue and try and watch the film as if it is a serious noir/crime thriller film. I did the latter and it doesn't work. Finally, the plot - it's complicated because we never have a coherent story, yet every scene is predictable, eg, Hardy's meeting with Foss, and the denouement (soooo obvious!). The film also tags on a predictable clichéd happy ending. This is NOT a good film.