Rijndri Load of rubbish!!

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Dana An old-fashioned movie made with new-fashioned finesse.

Shawn Spencer If you're expecting a true film noir, "Manhandled" might disappoint you. If you view it as a parody, you should really enjoy it.In the middle of the complicated plot with double and triple crosses galore, confusing flashbacks and stylized violence, the police detective and his assistant have a running gag about the brakes on their squad car.Dan Duryea steals the show as an over-the-top wiseguy who out-thinks himself in a needlessly complicated theft and attempted frame. Dorothy Lamour is gorgeous as always, and plays the opposite of a femme fatale. Alan Napier plays a "sophisticated" Englishman who confesses to dreaming about killing his wife with just the right level of snobbishness and ennui. And a very young Sterling Hayden plays the romantic interest for Lamour."Manhandled" is not just a parody of noir films but also sophisticated detectives like the "Thin Man" series.

Spikeopath Manhandled is directed by Lewis R. Foster and adapted to screenplay by Foster and Whitman Chambers from the novel "The Man Who Stole A Dream" written by L. S. Goldsmith. It stars Dorothy Lamour, Dan Duryea, Sterling Hayden, Irene Hervey and Art Smith. Music is by Darrell Calker and cinematography by Ernest Laszlo.I'm going to kill you, Ruth. I have to.Manhandled is one of those late 40s crime mysteries that feature film noir legends and film noir narrative tints, thus why it finds itself under the film noir banner. This is more a curse than a blessing. For it's not a particularly great film, where the presence of Hayden and Duryea - and Laszlo on photography - just about keeps things bubbling away to make it watchable till the end. It has been said that the narrative is too tricksy for its own good, yet that isn't apparent since the story is very easy to follow. The twists come and go at regular intervals, but always with narrative clarity.The main thrust of the plot finds Lamour being set up as the killer of Mrs. Alton Bennet (Hervey), with Bennet's jewels the reason for the crime. But there are a few other candidates in the frame, all of which are written to be believable suspects. The cops investigating are waspish of tongue, with Smith as dry as the Sahara, and Hayden is playing an insurance investigator who is along for the ride doing exactly the same job that the coppers are doing!Duryea is the star attraction, playing a homme fatale type who chews gum a lot, calls his girlfriend Kitten and clearly is as untrustworthy as it gets (classic Duryea portrayal really!). Hayden doesn't show up until half an hour in, but he's a welcome arrival even if he isn't given much to get his teeth into. While Lamour pouts and ponders whilst gaining sympathy, which ultimately makes us wish she had of done more film noir type films.There's some nice metaphorical touches, such as Duryea encamped in his apartment watching a vermin species consistently running on its wheel, and Laszlo's photography goes up a notch in the latter half of film - Lamour's apartment becomes foreboding and all the hall staircase sequences take on a greater oppressive meaning. A dream sequence is chilling, and there's one particular violent scene that is unforgettable. Unfortunately some of the comedy, whilst funny at times (drugs scenes are chucklesome), takes the pic out of its dramatic comfort zone.Hayden and Duryea fans are safe in the knowledge that this is one to see, but it still winds up as a wasted opportunity to be something far more tougher and poignant. 6/10

dougdoepke The shot of an ecstatic Duryea running down a terrified Vermilyea in the narrow, darkened alley way is a great slice of noir. Too bad the tension comes so late because, despite the promising title and noir icon Duryea, the narrative holds together about as well as an O J Simpson alibi. Looks like three different scriptwriters came up with three different results, so you may need a chart to track all the threads meandering through the plot. What the screenplay lacks is focus. There really is no central character holding developments together. Hayden's the headliner, yet his role as insurance investigator remains oddly inessential. Instead, lowly Art Smith gets the law-and-order screen time and in fact most of the movie time. Now, I like actor Smith as much as the next guy, especially in sly roles (Ride the Pink Horse {1947}); still, his comic relief here is not only misplaced, but too often sounds like it's being done by the numbers. (And whoever is it that thought a cop car without brakes is funny!)On a more positive note, Alan Napier gets a delicious turn as the snooty novelist husband, but unfortunately soon drops out of sight, and I'm really sorry Irene Hervey's sexy wife bites the dust early on. She's a lively and interesting presence, making her spats with Napier a movie high point. And that's another source of trouble. Everyone disappears from the narrative for significant periods, such that a nudge is sometimes needed to remember who they are, even the largely wasted Lamour. All this might be okay if the plot or direction generated some suspense, but they don't, at least in my little book. In fact, if it weren't for the great Duryea doing another of his patented oily operator roles, the movie would be much more forgettable than it already is. From the title, I certainly expected better.

Karen (Gypsy1962) Overall, I was fairly disappointed in Manhandled. The best part about it was Dan Duryea, who played his usual oily self and is always a pleasure to watch. The plot of the film was satisfactory as well, involving a rich woman's coveted jewels, her murder, and a melange of would-be killers. But Dorothy Lamour is miscast as the leading lady and adds little to the production, and a running gag between a police detective and his partner is not only tiresome but also out of place. The film did offer several notable elements of film noir, however, including the opening sequence, in which a man dreams that he bludgeons his wife to death with a perfume bottle, and a later scene in which a duplicitous doctor is run over -- repeatedly -- by a car. Still, I'd probably place this one way down on my list of film noir must-sees.