No Questions Asked

A black and white film noir that is most excellent. For a noir that doesn't have Bogart in it or any other notable actor this one delivers the goods. Best of all it has a delicious twist that you don't see coming and is quite surprising. Barry Sullivan plays an insurance agent who gets what seems like a good idea to get rich. As with so many "good ideas" it doesn't take long for things to go sideways for him. He soon finds himself out of his depth. In keeping with the noir there's cops, gangsters, good girls and bad dames. If you like noir this tasty flick is for you.

A terrific classic noir opening - man on the run in a city of night, his voiceover, leading to flashback - but eventually disappointing. Barry Sullivan is excellent as the protagonist. If it had kept the courage of its opening, it could have been one of the great ones.

And God spoke: I need two people, of all my creations, who will be perfect for the leads in what I will call Film Noir. That's how Barry Sullivan and Jean Hagen were created. This film is indeed classic, even typical film noir, with the one big difference: It's quite original plot, which twists and turns like a mountain road. Director Harold Kress lays the story out in a crisp and uninsulting manner, expecting us to pick up subtleties and clues without obvious explanations. I suppose if I have to find issue, I'd say the picture seems to be slightly over edited, coming across at times like a long montage. All in all, really good movie, and, if you are a film noir nut, maybe even great. Dahl always gives the added obvious bonus of being stunning.

Yes indeed, some terrific lines here, especially by Jean Hagen. She is the jewel of this passable noir. Watch for the scene where she shows up at Sullivan's apartment and the interaction with Arlene Dahl. Priceless and somewhat unexpected given the film's age. Some other good stuff as well, again considering the film's age. Like the holdup by two men disguised as women. Otherwise the main premise of the lawyer who acts as go-between criminals and insurance companies is a bit thin. The acting is fine if not exceptional. Barry Sullivan is convincing as the lawyer out for a fast buck to impress gold digging Arlene Dahl whose presence is enough as usual. But it's Jean Hagen who shines and makes this worth watching, at least for her scenes.

The power of this movie rests in the story and it is well told and original too. Enjoy Barry Sullivan and supporting actors as they bring some decent story-telling to entertain you. Good snack movie too! The premise is an interesting one and works only if you go back in time lets say the forties and the premise kicks in. Today they have laws and good police work that prevents this set-up of a sort. If you don't ask any questions, you get what you lost back. Its the questions that ruin it LOL. Also take in the love story and assess that as the main actor does this as well. Love is interesting. Love of what, how or whom remains to be seen

This is definitely one of the better and original B noirs of the 1950s. An insurance lawyer skirts the edge of the law and eventually ends up in bed with the criminal element. Our favorite buxom bad broad, Arlene Dahl. Jean Hagen is good but deserved a better role as a bad girl. Sullivan is adequate but lacks the star quality that would have made this an A production. It has a few fun and original touches. I won't give them away.