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  • At the beginning, a narrator speaks as we are shown a residence and the dog named "Angel" that guards it. The viewer is shown the top of a cistern, with "David" the narrator (played by Kent Smith) at the bottom of the cistern. Here's the flashback to tell his story...

    When David is picked up for vagrancy, someone pays his fine, and has a proposition for him: He is to pretend to be a millionaire, who had disappeared several years prior. Even the millionaire's wife can't tell he is an impostor, but things start to go wrong. The man he is impersonating wasn't very well liked, and David must find out why. Viveca Lindfors gets top billing as "the wife", but it's Janis Paige as the sister- in-law who (rightfully) steals the show. Watch for Monte Blue as the Sheriff. The acting isn't anything special, but the story is mildly compelling, and since we know right from the start that David ends up in the well, we get hooked on finding out how he ends up there.

    Written by Richard Sale, who had several novels and screenplays made into films. This one IS available on DVD, although you can catch it on Turner Classic Channel about once a year. Directed by Richard Bare, who wrote a book on the proper technique on film directing.
  • Warning: Spoilers
    Reminding me of the 1945 film noir sleeper "My Name is Julia Ross", this interesting film noir deals with a vagrant (Kent Smith) bailed out of jail and utilized in a lawyer's scheme to defraud a wealthy family. Resembling the missing black sheep of the family, the prodigal son who never returned before his father died, Smith finds that he's bitten off more than he bargained for when he finds a brother (John Alvin) who hated him, a wife (Viveca Lindfors) who is terrified of him, and a sister-in-law (Janis Paige) whose relationship with him was far more than platonic. They live in a gloomy mansion overlooking the ocean from a high cliff, just like the wealthy mother and son in "My Name is Julia Ross", so it is very apparent that there is danger about, if not the cliffs, then the yapping dog who snarls at practically everybody and could tear them to bits, as well as an abandoned well where Smith is seen in the opening scene of the film.

    As the clever family attorney, Robert Douglas is an obvious villain from the start, using the vulnerable Smith for his own purpose. The opening sequence of a beat cop simply arresting Smith for looking in a gun shop window is disturbing because it gives the sense that beat cops during this era could arrest anybody for anything they wanted to charge them with. Certainly, research of the law indicates that vagrancy was an arrestable offense, and Smith does look like a hobo in the opening scene. But cleaned up and put in the missing brother's alleged designer suits makes him the perfect doppelganger for the presumably dead brother (by Douglas's hands, I will imagine, although that is never established), Smith's arrival at the gloomy family home is not without despair for the three members of the family. Fights soon begin between Alvin and Smith over Paige's lingering feelings for the dead brother, and when Paige makes a discovery, it leads to Douglas taking horrific action with the entire family just so he can get his hands on the family estate.

    This is one of the rare opportunities to see the usually vivacious Janis Paige in a serious, dramatic role (other than the 1946 remake of "Of Human Bondage" and perhaps a few others), and her perky voice is missing from her characterization. She's closer to a vixen here than the flirtatious good time gals she played in all those Warner Brothers and MGM musicals (as well as on Broadway and later on T.V.), and it is fascinating to see her in such a unique part. Lindfors is brooding and quiet, suspicious and scared of Smith, while Alvin is not really as well established character wise as the two women and Smith and Douglas are. The scenery around the estate is brooding, nearly dead looking (like one of those 1960's Vincent Price American International horror films), and as Lindfors explains, the grounds and the house are beyond evil. It is suspenseful but predictable, saved by the performances and the brooding atmosphere.
  • Kent Smith, Viveca Lindfors, Janis Paige, Robert Douglas, and John Alvin star in "This Side of the Law," a 1950 film directed by Richard L. Bare. Smith plays David Cummins, a vagrant who is baled out by an attorney named Phillip Cagle (Douglas) who wants him to impersonate a missing millionaire in order to divide a $3,000,000 estate. Cummings agrees to do it for $5,000, but he walks into a hornet's nest: a wife (Viveca Lindfors) who doesn't seem to like him much, a brother (Alvin) who detests him, and a sister-in-law (Paige) who likes him a little too much. It's all pretty confusing, as Cummins tries to do the right thing by the millionaire's obviously hurt wife. Then murder complicates the situation further.

    The story is told in flashback, as we see in the beginning that Cummins is in grave danger -- as he tries to save himself, he goes over the events that brought him to his present problems.

    Fairly interesting story. I'm sure for Lindfors, a wonderful actress brought over from Sweden, this was hardly the stuff of star-making, but she does a good job. Paige is gorgeous.

    All in all, fast-moving and satisfying.
  • A vagrant is bribed into impersonating a millionaire as part of an inheritance scheme. The trouble is he gets more than he bargained for.

    I'm not sure why this little noir-- and it is a noir (hand of fate, a web of intrigue, a spider woman, & dark atmosphere)-- remains so obscure. This Warner Bros. entry may not be top-flight, but it is respectable. That opening scene with the pin-light on Cummins' (Smith) ravaged face is a grabber. Several other moody scenes emerge along the way, plus a neat plot twist, that makes this thriller an entertaining 70-minutes.

    I'm guessing one reason for the film's obscurity is the cast, especially the lead, Kent Smith. He performs well enough. The trouble is he lacks screen presence, almost fading into the background at times. On the other hand, Lindfors and Paige split the women's time, such that neither is able to establish much presence of her own. John Alvin, however, comes across vividly in the thankless role of the weakling brother. Also, I'm surprised director Bare manages the dark material as well as he does, given that his previous career was exclusively with comedy shorts. (Note, for example, how Cummins has to work at getting a name off the ID bracelet—a good realistic touch.)

    Nothing memorable here, just a solid little noir.
  • Warning: Spoilers
    ***SPOILERS*** Almost unknown little film noir gem involving this down and out vagrant David Cunmmins, Kent Smith, who's made to impersonate ,for a cool $5,000.00, this missing millionaire Malcolm Taylor whom he has a striking resemblance to.

    Spotted at the L.A courthouse by shyster lawyer Philip Cagel, Robert Douglas, who pays his $50.00 fine Cummins is given all the information about the missing Malcolm Taylor and sent to his pad, mansion, on the Pacific Ocean coast to convince both his brother Calder, John Alvin,sister in law Nadine, Janis Page,as well as wife Evelyn, Viveca Lindfors, that he's the real deal or real McCoy the missing for some seven years Malcolm Taylor. Even though the three all fall for Cummins act the pet dog Angel doesn't and that's to make things later difficult for him as well as the person who put him up to this sham Philip Cagel.

    We already saw that Cummins was double crossed by Cagel at the very beginning of the film so we knew what a phony he, Cagel, was and how he was just using Cummins for his own greedy and selfish purposes. But what we don't know and later find out is that Cagel knows a lot more about the missing Malcolm Taylor then he lets on. And the biggest secret that he has is that he not only knows where Malcolm is, at the Taylor Sans Souci estate, but also how he got there.

    ***SPOILERS*** As Cummins puts two and two together Cagel changes his plans to get his hands on he Taylor fortune, all three million dollars worth of it, by getting his partner in crime knocked off so he won't have to split the money with him. As Cummins gets out of his deep and pressing predicament, that Cagel put him into, he's forced to confront Calder who's been brainwashed by Cagel that he and Evelyn murdered his wife Nadine, by throwing her off a cliff, with Cagel trying to check out before he's noticed. It's then that the real hero in the movie the family dog Angel goes into action and puts an end to Cagel's evil plans together with Cagel himself.
  • This noir begins with a man trapped in a cistern berating himself. We learn that he is David Cummins (Kent Smith), a self proclaimed drifter, who was picked up by the police and subsequently bailed out of jail by a lawyer who he didn't know. The lawyer explains that he wants to hire him to impersonate his wealthy client for an inheritance case. It would be for just a short period of time and he would make $5,000, but he can't ask any questions.

    David must fool the man's brother, sister-in-law, and wife...oh! And his dog, Angel. Angel is a beautiful dog too, who is only kept at bay by the smell of her owner's clothing and the non-threatening nature of David.

    It's clear from the minute he sets foot on the property that things aren't as they seem...this is both a missing person and a murder mystery, but the biggest question is can David get out alive?

    I enjoyed this mysterious noir. I appreciated that they answered all the questions in the end. This is a recommendation to noir fans. It may not be in the top tier but it was a great house and a good watch.
  • SnoopyStyle14 June 2021
    The movie opens with the lead at the bottom of a well. David Cummins gets arrested for vagrancy and fined $50. Philip Cagle pays the fine and wants a favor in return. Philip is a lawyer who needs David to pretend to be his doppelganger millionaire Malcolm Taylor.

    This is a fair noir film. I do wonder how David fits so easier into their world. A bit of uncomfortable misunderstandings would be more compelling. That's why the dog is the best. He should carry some doggie treats. The other issue is that David should automatically distrust Philip. It would be even more compelling if David tries to double-cross Philip. I'm saying that there should be more double-crossing.
  • Get out of that of you can. Kent Taylor (David) is at the bottom of a covered well at the film's beginning. We go to flashback to tell the story of how this has come to pass. The story develops gradually so that you are not given all the information as to what is really going on. We learn what is happening as our lead man Taylor discovers things. Lawyer Robert Douglas (Cagle) holds the strings as to what is really happening and reveals things when necessary. It is his plan to have Taylor turn up at an Estate and pretend to be the long-lost owner so that the Estate's money does not get passed on to any undesirable characters who currently live on the premises.

    It's an entertaining film with a good cast and scenery that gives you a spooky vibe. It's well filmed and keeps you guessing at the mysterious relationships and who is colluding with who. It's a small cast with a special mention to Janis Paige (Nadine) as my favourite character who plays the not-so-dumb relative of Taylor.

    One reviewer has focused on the cliff aspects of the film and makes a good contribution. A good cliffy location for this film to play out. An enjoyable film with a good technique for getting out of a well should you ever fall into one.
  • mls418215 June 2021
    The writer started with a good idea, came up with an ending and packed it with some filler. This couldn't pass as a 70s or 80s made for TV movie. No wonder they held onto it for two years before they released it.
  • telegonus18 June 2005
    This Side Of the Law is a rather fun thriller from the early fifties and concerns a man hired to impersonate someone else, a greedy family and other unwholesome things. The cast is decidedly of the second-string variety; however that doesn't make it bad. Kent Smith and Viveca Lindfors were both talented performers and play their starring roles well. It's particularly nice to see Smith in a leading role for a change, as he was a decent actor who never quite made the cut in Hollywood. Character actor John Alvin does nicely in a showy supporting part. I wouldn't quite call the movie film noir, though it's close. It plays somewhat like an episode of the Perry Mason TV series, as it's full of similar plot twists and surprises. If one likes dark mysteries this is a good one to look for.
  • gordonl5621 October 2012
    Warning: Spoilers
    THIS SIDE OF THE LAW - 1950 This one has it all, greed, cross and double-cross, twists, turns, a cliff-side mansion and a couple of murders.

    Kent Smith plays a down on his luck drifter who hits town and is grabbed up by the local police. He is given 30 days or 30 dollars on a vagrancy charge. Smith figures 30 days worth of free grub and a roof over his head is pretty good. But before he hits the cells, he is bailed out.

    Meeting him at the jail-house doors is lawyer Robert Douglas. Douglas gives Smith a ride to his office in order to discuss a business arrangement. Douglas offers Smith 500 dollars for a small favour. "And what kind of favour costs 500 bucks?" Asks Smith. Douglas shows Smith a photo of a well-dressed man who looks just like Smith. "I represent this man, Mal Taylor's 3 million dollar estate.

    He has been missing for 7 years and is about to be declared legally dead. I do not want that to happen." Says Douglas. Douglas explains that he thinks one of three people might have killed Taylor. He believes that the wife, Viveca Lindfors, his brother, John Alvin, or the sister in-law, Janis Paige, might have done the deed.

    Douglas wants Smith to "reappear" and see what reactions result. Smith agrees but demands $5,000 for the work. Douglas gives him an evil look but agrees. Douglas spends the next two days filling Smith in on Taylor's habits etc. Taylor it seems was a womanizing cad who treated everyone like dirt. Lindfors was on the verge of divorcing Taylor when he disappeared.

    Smith does his Taylor bit and the family is needless to say rattled. Lindfors tells him he is an ass while brother Alvin obliviously hates him. He spends the next few days snooping for Douglas and of course falling in love with Lindfors. Smith quickly finds out the reason for the brotherly hate feast.

    It seems Taylor had been stepping out with dear sister in-law Paige. Paige puts the moves on Smith and quickly realizes he is a phony. She figures he is a con man after the fortune and offers to keep quiet for a price. Smith calls Douglas to tell him Paige has tumbled to the act. Douglas tells him to play along with Paige.

    Now we find out that Paige is also doing the horizontal cha-cha with Douglas. It looks like Douglas is the one making a play for the estate. Douglas now figures Paige is doing an end run for a slice of her own. Douglas dashes out to the mansion and confronts Paige about Smith. This little talk ends with Paige being dropped off the handy cliff edge.

    Now the ball is really rolling as the body is discovered the next day and the local law called. They conclude that she stumbled and fell. Alvin however accuses Smith of pushing her off. The cops put Alvin's rant down to grief and call Paige's death an accident.

    Douglas tells Smith his job is over except for one more item. He has Smith forge Taylor's name to a document signing over the estate to Lindfors. Douglas and Smith head off to town. They are not 100 yards down the road when Douglas gives Smith the butt end of a pistol. He then hauls Smith out into the woods and dumps him down an old well.

    Douglas now speeds back to the mansion. There, he tells Alvin he believes it was really Lindfors who killed Paige. Alvin decides he will get his revenge and drop Lindfors over the same cliff. He asks Lindfors to come out for a "walk". As soon as they leave Douglas calls the police. He tells them he is convinced Alvin has gone mad and is going to kill Lindfors. If Alvin kills Lindfors, then is locked away, Douglas, as the family lawyer, will have complete control of the estate.

    While all this is going on, Smith, though somewhat worse for wear, has survived the thirty-foot drop. He finds the remains of the real Taylor, and quickly realizes he has been played for a world-class chump. At the cost of some broken nails and the like, he manages to clamber his way out of the well. Just as he reaches the top, he hears Lindfors screaming. Smith does the old hundred-yard dash in record time and drops Alvin with a few solid punches.

    Smith takes Lindfors back to the mansion where a less than amused Douglas is waiting. He pulls a gun and starts blasting. The police now show and the chase is on. Douglas makes a run through the woods where needless to say he tumbles into the same hole Smith had just exited. A broken neck puts an end to Douglas and his plans. Smith comes clean with Lindfors and the two embrace. She prefers Smith anyway.

    Smith was in CAT PEOPLE, THE SPIRAL STAIRCASE, NORA PRENTICE, THE DAMNED DON'T CRY. Lindfors walked the dark side in BACKFIRE, DARK CITY and THE HALLIDAY BRAND. Douglas was in HOMICIDE, SPY HUNT, FLIGHT TO TANGIER. Alvin had bits in ILLEGAL, THE NAKED ALIBI, DIAL 1119, HIGHWAY 301, OPEN SECRET and THE BREAKING POINT.

    The director was Richard L. Bare. His work includes SMART GIRLS DON'T TALK, and FLAXY MARTIN. The d of p was Carl Guthrie. THE BIG PUNCH, FLAXY MARTIN, BACKFIRE, CAGED, IRON MAN, THE TATTERED DRESS, DEATH IN SMALL DOSES, Hollywood STORY, UNDERCOVER GIRL, HIGHWAY 301, STORM WARNING. Story was by Richard Sale who was involved in LADY AT MIDNIGHT, THE INSIDE STORY and SUDDENLY. This film was made in 1948 but not released till 1950. (b/w)
  • Warning: Spoilers
    . . . One Per Centers, like "M. Taylor" or Don Juan Crump, ought to meet their ends in deep pits, along with their greedy, grasping germ-like lawyers such as "Phil C." or Rudy G., the prophetic prognosticators of America's always eponymous Warner Bros. Warn viewers with THIS SIDE OF THE LAW. The Warner seers outline the necessity to fill up our Grand Canyon at least halfway to its brim with these money misers, resource hoarders, malingering miscreants and mob mouthpieces. LAW alerts us to the water pollution hazard of simply shoving every Accumulator of Ill-Gotten Wealth off a cliff into an ocean. Plastic particles are bad enough, but suffering a deluge of these sulfurous Devil's Disciples would surely turn the stomach of any passing shark!
  • Warning: Spoilers
    This seldom-seen melodramatic crime flick from Warner Brothers has a lot to recommend it. It starts off with the entombment of the lead character, played by Kent Smith, who tells us that he has ended up in the bottom of a well on a remote estate called Sans Souci. We don't know who put him there, and how his life spiraled out of control, but we do know that an extensive flashback will follow that is meant to fill in the gaps and answer our questions.

    Smith was nearly 42 when he made this film and he looks at least ten years younger. Indeed, he aged nicely and was still a handsome man in minor roles during the 1970s. His leading lady in this film is European import Viveca Lindfors. Warners had also put Miss Lindfors into another brooding melodrama around this time, NIGHT UNTO NIGHT with Ronald Reagan.

    In THIS SIDE OF THE LAW, she is a patient woman who has been waiting seven years to find out if her missing husband is dead or alive. Her husband looked very much like Smith, only the first part of the extended flashback tells us that Smith is not really the man she married, but an impostor.

    An elaborate ruse has been set in motion by a crafty attorney (Robert Douglas) who glimpses Smith one day in a courtroom. Smith's a down-on-his-luck vagrant appearing before a tough judge. Noticing the resemblance between Smith and his former employer, Douglas bails him out. Then he takes Smith to his office where he makes an intriguing proposition.

    We learn that Douglas' idea is to have Smith impersonate Lindfors' husband who disappeared several years earlier. Douglas must carry out this plan, because he needs several important documents "signed" by Smith that will give control of the estate to him, under the guise of protecting Lindfors. What we don't know during this part of the story is that Douglas is more than just a shyster, he's a murderer, having killed Lindfors' husband in cold blood. He disposed of the body in the old well where Smith later winds up.

    Before the documents can be filed and these transactions made official, Douglas needs Smith to pretend to be the dead man for awhile. Smith goes along with the scheme, because he's getting paid five grand for his trouble...and because he feels a need to look after Lindfors, whom he has naturally started to fall for...which doesn't come as a surprise since she is so beautiful.

    There is an important subplot involving the dead man's brother (John Alvin) and his greedy wife (Janis Paige). They have been staying with Lindfors inside her spacious home and feel the estate should be theirs. Paige is really a piece of work in this picture. She had an affair with her deceased brother-in-law, and now that he's "back" in the form of Smith, she makes another play for him.

    Smith is not the same man, and he rebuffs her advances. She realizes he does not have a scar where he should have one, and she smells a rat. Not one to be deterred, she has a few tricks up her sleeve to gain control of the property and will resort to blackmail if necessary. This is where we find out she has also been involved with Douglas. Only she goes too far in her dealings with him and winds up dead.

    The plot takes a few unexpected turns, when Paige's husband blames her death on Smith...because he and his "brother" have always had issues...but the police clear Smith and rule Paige's fatal tumble off a cliff as an accident. Meanwhile, Lindfors and Smith are not yet fully aware of Douglas' many machinations but they are starting to suspect a few things.

    Once Douglas has gotten Paige out of the way and is able to finalize the transactions to legally put the estate into his control, he no longer needs Smith or Lindfors. He manipulates Smith into leaving Sans Souci but of course, he has no intention of letting Smith leave alive. This is when he knocks Smith out and pushes him into the old well, which brings us to where this whole sordid drama started.

    Smith desperately struggles to scale the rocky walls of the well to get out. He is aware that Lindfors is surely in danger, since he figures Douglas will engineer her death next. He finally reaches the top just as he hears Lindfors screaming for help.

    He hurries off to save her, and this culminates in a deadly brawl with the brother, whom Douglas has goaded into attacking Smith. The brother falls off the cliff and dies just like Paige did earlier. Then Smith goes after Douglas. Ironically, their sparring leads back to the well and Douglas falls down into the well and dies there.

    In the last segment, Smith confesses his role in Douglas' plan to defraud Lindfors. But she is not going to press charges. She has forgiven him, because she loves him in a way that she never really loved her dead husband. All's well that ends well.
  • Warning: Spoilers
    I like movies with cliffs. I like it when someone falls off the cliff or is tossed off a cliff in a cliff movie. I like fights by cliffs in cliff movies. I like it when people climb cliffs in cliff movies. This Side Of The Law was a pretty good cliff movie even though nobody climbs a cliff.

    I live near some dramatic cliffs. Hollywood even once used the cliffs for a Malaulay Caulkin film. I sometimes go to the cliffs and brood hoping Joan Fontaine might wander by. So far, she hasn't.

    Kent Smith climbs out of a well well. I don't like well movies as much as cliff movies but having both a cliff and a well in the same movie is a good idea. And since nobody climbs a cliff at least we get to see a character climb out of a well.

    Kent Smith plays a guy pretending to be another guy. When he finds himself at the bottom of the well he regrets pretending to be another guy. If he had never agreed to pretend to be another guy he would never have found himself at the bottom of a well.

    The moral of the story is always be yourself.

    Then again, if he hadn't pretended to be someone else, he never would have ended up standing at the edge of a cliff at the end with a Swedish babe.