Ploydsge just watch it!

CrawlerChunky In truth, there is barely enough story here to make a film.

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

Skyler Great movie. Not sure what people expected but I found it highly entertaining.

Fuzzy Wuzzy Isn't it funny (ha! ha! ha!) how the presence of one actress (alone) can just about (but not quite) ruin a perfectly good story for you? Well, this was the case in point that I found with The Dark Corner, which co-starred actress Lucille Ball.If Ball hadn't been given such a substantial role, then, very likely, the whole scenario of the story would've probably played out about 10x better than it did.But because Ball was in my face almost constantly (and I took a strong disliking to her almost immediately) she came pretty close to wrecking the whole shebang for me, hook, line, and sinker.I mean, here was a nicely-paced, vintage film from 1946. Set against the bustling background of downtown Manhattan, its intriguing story-line, its striking camera-work, and its competent direction all added up to a nice, little slice of 1940's Film Noir.And, then, along comes the annoying Lucile Ball as Kathleen, the irritating secretary of tough-guy, P.I., Brad Galt.Kathleen's aggravating, one-track minded determination to get the dashing, young Brad as quickly as possible to the altar bordered on the verge of being absolutely ludicrous in nature.All-in-all - Lucille Ball as Kathleen was the one major sour-note in The Dark Corner's otherwise engaging story.

Dalbert Pringle The Dark Corner, from 1946, was good, but, definitely, not great Film Noir. With its intriguing and nicely paced storyline, its well-defined characters, and striking camera-work, things all added up to a fairly nice, little slice of 1940's Crime/Drama.I really liked actor Mark Stevens who played the P.I., Brad Galt. Stevens put in a likable and believable performance.But, on the other hand, Lucille Ball, as Kathleen, the loyal, love-struck secretary, wearing shoulder pads to rival those of any football player's, was clearly out of her league in a serious, dramatic role.Kathleen literally throws herself at her boss, Brad Galt, who she's only been working for just a short time. Ball's role was this film's one major sour note.Kathleen's annoying, one-track minded determination to get Brad to the altar, bordered on being downright fanatic. It was enough to scare any man (in his right mind) off. It's no wonder that she had no other boyfriends. I felt really sorry for Brad at the end of the film, heading off with Kathleen to City Hall - Destination: Marriage.This film contains a really hilarious mistake that wasn't edited out - When bad-guy, Fred Foss gets up from the floor after his scuffle with Galt in the apartment, his toupee is clearly seen standing up and you can see his bald-spot before he puts on his hat.

TheLastDriveIn 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.

Ben Larson The story started of well, peaking my interest with a quick visit of the police in the form of Lt Frank Reeves (Reed Hadley) to the office of Bradford Galt (Mark Stevens). Secrets in his past? It wasn't long before he was tailed, and we know there is something amiss. Love how a film will catch you that quick.Of course, there was a very sweet looking Lucille Ball as Galt's secretary. Screenwriters Jay Dratler and Bernard C. Schoenfeld wrote some snappy lines for her.There was a lot of action - cuckolded husbands, murders, car chases, and blind leads in an attempt to keep Galt out of jail and find the real killers.Well worth the time.