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Surprisingly incoherent and boring

It is a performances centric movie

I'll tell you why so serious

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Why didn't Mark Stevens become a bigger star? He is charismatic, a good actor, sturdy, and interesting. He had a few good roles and then faded away. Even the billing went against him: why is he fourth billed, when he is the lead in the movie? Lucy is terrific in her best dramatic role of her career. Romantic, solid, moral, believable - she's wonderful.Love the contrast between the two New Yorks: the seamy side of lower-class lives and the beautiful wealthy New York that Webb and Kreuger inhabit.Joe MacDonald is the real star of the movie: his camera-work, combined with superb editing, makes this movie visually appealing and exciting throughout.Sorry to read that Lucy had a bad experience with Henry Hathaway, the director of the movie ): His bullying didn't hamper her excellent performance.I particularly love the 1945-1953 black and white movies at Twentieth Century-Fox - they moved out of the studio but unlike later the films were still in gorgeous black and white. It was a big mistake starting in 1967 to make almost all movies in realistic color ): This movie is definitely worth seeking out.

Few actors can sweat with creepy menace as much as William Bendix, the sleazy thug hired by an enemy of lead detective, Bradford Galt, played by Mark Stevens a perfect week-kneed noir hero at the mercy of his past. Add effete Clifton Webb, an art dealer with plenty of attitude and his svelte young wife who has other ideas than being good to her husband--and there's also pre-Lucy Lucille Ball, odd as a supportive secretary--but because of fast-paced, well-modulated direction and especially a cinematographer who could capture the shadowy streets and shuttered, barren offices at night, The Dark Corner, where our nervous hero huddles after numerous brushes with those who would do him ill, is a nice little noir thriller

The Dark Corner (1946) Director Henry Hathaway's (Niagra, Kiss of Death) rhythmical detective Noir, with more than just one great line here or there to fill out the plot. Based on a story by Leo Rosten and adapted to the screen by Bernard C Schoenfeld and Jay Dratler. In most Noir films there are the elements of existential anguish– the angst that runs through the central characters' narrative. Bradford Galt is a prime example of the detective with this sense of being at the mercy of his past burden, the one that haunts his present life. He got a fast shuffle out west. Now he just wants the chance to start up a legitimate business. Mark Stevens (The Snake Pit, The Street With No Name) is Bradford Galt, the hemmed in protagonist of the film. A private dick who just can't escape his past, and is targeted as the fall guy in a plot of revenge. Lucille Ball is Kathleen Stewart his always faithful and trustworthy secretary who is with Galt for keeps. And then there's the inimitable Clifton Webb as Hardy Cathcart the overrefined art dealer who's sanctimonious utterances drives much of the film's best lines. In the realm of the Noir as detective yarn, Dark Corner goes smoothly through each scene, while less darker than some contributions to Noir, it is sustained by some memorable dialog. Dark Corner utilizes some of the characteristic visual motifs of the Noir film The frame within a frame, which creates the environment of imprisonment. Bradford Galt is an iconic figure who's existential anxieties create the environment of no way out. There is a very memorable scene in The Dark Corner which has a very vivid moment of someone being flung out a window. I guess defenestration is a popular method of character disposal in Noir/Thrillers. Being hurled out a window is quite a drastic way to die, lets say rather than being shot in the heart once with a small pistol. The Dark Corner has other inherently typical themes of Noir in addition to the detective yarn, it also shares the Wrong man. Galt has been framed for a crime he did not commit. For the first part of Dark Corner it is also not made very clear the who and/or why someone, possibly this Jardine character is persecuting Galt. Bradford Galt (Mark Stevens)is superb as the private investigator who after serving 2 years for vehicular manslaughter, in which he was set up by his ex-partner a shyster lawyer the suave Tony Jardine (Kurt Kreuger), Galt comes to New York from San Fransisco to start over. He's got a kind of Alan Ladd, nice guy look about him. One of the driving narratives of Dark Corner is Galt's self persecution and Ball's need to prop him up and keep him from feeling sorry for himself. The more he tells her to forget him, the tighter she holds on and sticks by him. The banter between Stevens and Ball is believable and it's quite sweet the way they develop their relationship. Even when she mentions him being a detective and uncovering a pair of nylons size nine for her and he keeps saying he'll make a note of that. It's their partnership that's yet the other real focus of the story. William Bendix, (Frank Foss) hired muscle and tail dressed in an 'out of season' linen white suit is tailing Galt and his secretary very conspicuously, while the boss and his lady friend are on their first unofficial date, wandering through the Tudor Penny Arcade, they confer that white suit's been tagging along. Both Bradford and Kathleen notice him and conspire to get him up to Galt's office. Kathleen is supposed to wait in a taxi and then follow Foss to where ever. After Galt finds out what his game is. Once Bradford Galt gets hold of Foss (Bendix) he hits back hard and finds out that Jardine the ex partner who had framed Galt back in San Fransisco is now after him once again. This sets off a chain reaction for Brad to uncover why Jardine is so interested in him again. Brad Galt roughs up Bendix, humiliates him, takes his wallet so he can remember his name and where he lives and when Foss spills ink on his desk, he wipes his inky fingers all over the nice white linen suit.Brad also breaks Bendix's thumb. Which becomes significant later on in the film. During the film Galt is as sullen as a wounded animal having been set up a few years earlier by his ex partner and now is being targeted once again, but this is secondary to the plot. It's the vehicle for which Galt can finally put the demons from the past to bed and start over as a stronger more complete man who's found his strength and love in his "faithful noir lady" Kathleen (Lucille Ball), who dotes on him and is the strong shoulder to lean on, whenever things get frenzied or dangerous. Kathleen's in it for keeps. Kathleen just won't quit her boss. She knows he's in trouble and wants to help him in any way she can. The one liners are great in this film. And there are very many of them. Webb is perfect as the art gallery snob/fop who is more concerned about his collectibles namely his wife than matters of pride, dignity or moral principal. His wife being his possession and keeping her as such is the only thing that matters to Cathcart. The Dark Corner is a really fun detective noir film that flows smoothly and pays off at the end as lyrically gritty as it starts out with the sensually playful musical score by composer Cyril J Mockridge.

This is one of my favorite films of all time. This has all the elements of a definitive film noir classic but it's strangely overlooked whenever the topic come up amongst film buffs. No, it's not noir artsy fartsy as The Third Man or adapted from a popular Dash Hammett novel... and yes, some of the dialog seems lifted straight from a cheap pulp magazine... but what The Dark Corner has is a serviceable plot and a cast of intriguing actors, many of whom would hit stardom on 50's TV: the film has the unexpected appeal of a 35-year old Lucille Ball in a dramatic role--- with New York itself deserving of an screen credit. This is easily one of Lucy's best performances. Great entertainment! 4th billed Mark Stevens' shoes could've been filled by anyone from John Lund to John Payne to Sterling Hayden, but he's more than capable and sympathetic here--- leaving viewers to wonder why his career didn't go farther. Cuckolded Clifton Webb is compellingly creepy (although it's a bit weird to see him obsessed with a woman other than his mother) and Bill Bendix is always a welcome addition to any 40's film. Look for an effective, technically advanced (for '46) matte-death scene. I have seen this 10+ times and always enjoy it. Highly recommended!!!!! 10/10.