The only reason I watched this one was to catch a glimpse of ERIC LINDEN, the man who played the amputee soldier in a devastating hospital scene from GONE WITH THE WIND where Dr. Meade gives the order to amputate. I had never seen him in a starring role.
Indeed, here he looks nothing like the man in the GWTW epic--he's clean-shaven, youthful looking in a boyish sort of way that makes it hard to see how he could have played the amputee victim of war in that Selznick film classic. The make-up was a big help.
The plot has a man framing himself for murder and then unable to prove that he didn't commit the crime when the time comes for him to produce the evidence that got away when his girlfriend's pocketbook was stolen by the real culprit--BRUCE CABOT.
By now, this plot has been used many times and it has been done to better effect by directors like Fritz Lang, who used it in BEYOND A REASONABLE DOUBT. Here, the story is weakened by some stereotyped newspaper types (particularly ROSCOE KARNS as the fast-talking editor), and some less than stellar supporting role performances.
DOROTHY JORDAN is so-so as the femme lead and Linden is merely adequate in the role of the unwise reporter who gets caught up in circumstances beyond his control. Nothing special, but it holds the attention for its brief running time.
Indeed, here he looks nothing like the man in the GWTW epic--he's clean-shaven, youthful looking in a boyish sort of way that makes it hard to see how he could have played the amputee victim of war in that Selznick film classic. The make-up was a big help.
The plot has a man framing himself for murder and then unable to prove that he didn't commit the crime when the time comes for him to produce the evidence that got away when his girlfriend's pocketbook was stolen by the real culprit--BRUCE CABOT.
By now, this plot has been used many times and it has been done to better effect by directors like Fritz Lang, who used it in BEYOND A REASONABLE DOUBT. Here, the story is weakened by some stereotyped newspaper types (particularly ROSCOE KARNS as the fast-talking editor), and some less than stellar supporting role performances.
DOROTHY JORDAN is so-so as the femme lead and Linden is merely adequate in the role of the unwise reporter who gets caught up in circumstances beyond his control. Nothing special, but it holds the attention for its brief running time.