At times, THE DARK CORNER (TDC) plays like a greatest-hits collection of classic '40s suspense films, but to me, that's part of its charm. The talents involved include LAURA'S co-writer Jay Dratler and co-star Clifton Webb, the latter again playing a witty, urbane, snobbish Manhattanite fascinated by a beautiful brunette and her portrait; and THE GLASS KEY'S co-star William Bendix, always fun to watch whether he's playing a lovable mug or a hissable thug; he's the latter in TDC. The engaging cast, sharp dialogue, and compelling plot elements work wonderfully under Henry Hathaway's direction. Lucille Ball shines in an early dramatic role, long before I LOVE LUCY. According to the informative, entertaining commentary by film historians Alain Silver and James Ursini, Hathaway was such a tough taskmaster that Ball had a nervous breakdown during the filming. It doesn't show in Ball's assured, appealing portrayal of smart, loyal secretary Kathleen Stewart ("Kathleen Conley" in the original GOOD HOUSEKEEPING serial, hence Kathleen being I.D.'d as "Conley" on the DVD's package copy). She's falling in love with her private eye boss, Bradford Galt, and the feeling is mutual. As Brad, Mark Stevens makes a fine Dick Powell-like transition from musicals to tough-guy parts. Brad's starting out fresh in New York City after being framed for manslaughter and nearly killed in California by his former business partner, corrupt lawyer Tony Jardine. As a favor to his Cali colleagues, local cop Lt. Reeves is keeping tabs on Brad to make sure the "impulsive youth" stays out of trouble. With his air of authority and his commanding speaking voice, Reed Hadley has great screen presence as Reeves. Nevertheless, it seems Brad's past is coming back to haunt him. When a big lug in a white suit (Bendix) follows Brad, he's shocked when the guy claims Tony Jardine hired him. The plot thickens as vulnerable but determined Brad sets out to see if Tony's aiming to finish what he started out west. Meanwhile, in the swankier side of the city, art collector Hardy Cathcart (Clifton Webb) is drumming up business for his art gallery and celebrating his third wedding anniversary at an elegant party for about a hundred of his closest friends and loved ones, including his beautiful young wife, Mari (Cathy Downs). A close friend of the Cathcarts joins the celebration -- none other than Tony Jardine himself (Kurt Kreuger, always good at playing smooth-talking Nazis and other shady Continental types), who apparently moved his law practice to The Big Apple. Tony himself, however, is still a bad apple, seducing and blackmailing vulnerable women of means. We also find that Hardy's burning love for Mari is like his passion for his paintings; he sees her and everything in his lavish home as treasured possessions. Hardy proudly unveils his newest acquisition, a painting he's been obsessed with for years: a 19th-century portrait of a woman who bears a striking resemblance to Mari. Although Hardy keeps Mari in the lap of luxury, the novelty of this marriage-cum-ownership is wearing off for his restless young wife. She and Hardy even have separate bedrooms (what did she expect with Clifton Webb and the Production Code? :-)). No wonder Mari has the hots for Tony, unaware he's a blackmailing gigolo. These worlds of high society and low crime collide, as Hardy uses trickery and White Suit's strong-arm tactics to fit Brad for a frame and Tony for a pine box.
To complicate matters further, Brad's his own worst enemy at times, especially since Tony's near-fatal double-cross shook his confidence in himself, leaving him prone to drinking and despair. Good thing Kathleen always thinks on her feet when trouble rears its nasty head. She has a knack for dragging Brad out of his periodic pity parties and helping him focus on clearing himself. I'm beginning to think Kathleen is underpaid! :-) The chemistry between Ball and Stevens deliciously blends banter, tenderness, and sexual smolder. Though Kathleen deftly keeps Brad from going all the way because she "plays for keeps," the lovebirds still get into some pretty hot kissing, especially in a great scene showing the couple reflected in a mirror as they embrace.
I like the whole "haves" vs. "have-nots" element running through TDC, and little details like the running gag about Brad scoring nylon stockings for Kathleen, and the little tenement kid with the annoying slide whistle who gives Brad a crucial clue. Speaking of clues, I love that something as prosaic as dry cleaning helps our heroes crack the case! Nice bit: Brad is dropping Kathleen off at the movies near his apartment, where he's going to face off with White Suit. Worried, Kathleen pouts, "I never thought I'd have to beg you to take me up to your apartment." Brad replies, with a grin, "You've been there..." The look on Box Office Gal's face is priceless as she strains to hear the rest of the conversation! There's a bracing street feeling to TDC's periodic outbursts of brutal-for-the-era violence. None of this Marquis of Queensbury rules stuff — the combatants really clobber each other! Even Webb commits a murder so sudden and shocking that I gasped in spite of myself. White Suit's ambush in Brad's apartment even has a touch of (unintentional?) humor; watch William Bendix's head, and you'll see what appears to be a toupee coming loose, hanging onto his scalp by a thread! The film was shot in both NYC and L.A., but it all looks convincingly like Manhattan. The NYC second-unit work is especially good, including shots of the Third Avenue El and an exciting car chase. Director of Photography Joe MacDonald amps up the moody film noir feel with his beautifully stark use of shadows and darkness, including showing off Cathy Downs's luscious figure as light shines elegantly yet provocatively through her sheer negligee. The DVD has swell vintage trailers for TDC and other Fox crime dramas, too.
To complicate matters further, Brad's his own worst enemy at times, especially since Tony's near-fatal double-cross shook his confidence in himself, leaving him prone to drinking and despair. Good thing Kathleen always thinks on her feet when trouble rears its nasty head. She has a knack for dragging Brad out of his periodic pity parties and helping him focus on clearing himself. I'm beginning to think Kathleen is underpaid! :-) The chemistry between Ball and Stevens deliciously blends banter, tenderness, and sexual smolder. Though Kathleen deftly keeps Brad from going all the way because she "plays for keeps," the lovebirds still get into some pretty hot kissing, especially in a great scene showing the couple reflected in a mirror as they embrace.
I like the whole "haves" vs. "have-nots" element running through TDC, and little details like the running gag about Brad scoring nylon stockings for Kathleen, and the little tenement kid with the annoying slide whistle who gives Brad a crucial clue. Speaking of clues, I love that something as prosaic as dry cleaning helps our heroes crack the case! Nice bit: Brad is dropping Kathleen off at the movies near his apartment, where he's going to face off with White Suit. Worried, Kathleen pouts, "I never thought I'd have to beg you to take me up to your apartment." Brad replies, with a grin, "You've been there..." The look on Box Office Gal's face is priceless as she strains to hear the rest of the conversation! There's a bracing street feeling to TDC's periodic outbursts of brutal-for-the-era violence. None of this Marquis of Queensbury rules stuff — the combatants really clobber each other! Even Webb commits a murder so sudden and shocking that I gasped in spite of myself. White Suit's ambush in Brad's apartment even has a touch of (unintentional?) humor; watch William Bendix's head, and you'll see what appears to be a toupee coming loose, hanging onto his scalp by a thread! The film was shot in both NYC and L.A., but it all looks convincingly like Manhattan. The NYC second-unit work is especially good, including shots of the Third Avenue El and an exciting car chase. Director of Photography Joe MacDonald amps up the moody film noir feel with his beautifully stark use of shadows and darkness, including showing off Cathy Downs's luscious figure as light shines elegantly yet provocatively through her sheer negligee. The DVD has swell vintage trailers for TDC and other Fox crime dramas, too.