Franchot Tone | ... | Stuart Bailey | |
Janet Blair | ... | Norma Shannon aka Gretchen Breeger | |
Janis Carter | ... | Ligia Caprillo aka Jane Breeger aka Janie Joy | |
Adele Jergens | ... | Boots Nestor | |
Glenda Farrell | ... | Hazel Bixby | |
Steven Geray | ... | Keller | |
Tom Powers | ... | Ralph Johnston | |
Lynn Merrick | ... | Mrs. Johnston | |
John Ireland | ... | Reno | |
Donald Curtis | ... | Martin | |
Eduardo Ciannelli | ... | John Vega Caprillo | |
Robert Barrat | ... | Lt. Quint | |
Raymond Burr | ... | Herb | |
rest of cast listed alphabetically: | |||
George Bell | ... | Elevator Boy (uncredited) | |
Paul E. Burns | ... | Janitor (uncredited) | |
Claire Carleton | ... | Irene Feston - Tired Blonde (uncredited) | |
Lane Chandler | ... | Recording Detective (uncredited) | |
Douglas D. Coppin | ... | Lab Man (uncredited) | |
Louise Franklin | ... | Maid (uncredited) | |
Karen X. Gaylord | ... | Betty (uncredited) | |
John Hart | ... | (uncredited) | |
Mary Adams Hayes | ... | Fannie - Waitress (uncredited) | |
Nan Holliday | ... | High School Girl (uncredited) | |
Eddie Marr | ... | Sharpy (uncredited) | |
Martha Montgomery | ... | Angel (uncredited) | |
Roseanne Murray | ... | Miss Phipps (uncredited) | |
Vesey O'Davoren | ... | Lilly - Butler (uncredited) | |
Garry Owen | ... | Gus (uncredited) | |
Gene Roth | ... | Plainclothesman (uncredited) | |
Arthur Space | ... | Sgt. Muller (uncredited) | |
William Stubbs | ... | Dealer (uncredited) | |
Sid Tomack | ... | Buster Buffin (uncredited) | |
Harry Tyler | ... | Warehouse Foreman (uncredited) | |
Isabel Withers | ... | Gracie (uncredited) |
Directed by | |||
S. Sylvan Simon | |||
Writing credits | ||
Roy Huggins | (screenplay) | |
Roy Huggins | (novel "The Double Take") |
Produced by | |||
S. Sylvan Simon | .... | producer | |
Original Music by | |||
George Duning | |||
Cinematography by | |||
Charles Lawton Jr. | (director of photography) | ||
Film Editing by | |||
Al Clark | |||
Art Direction by | |||
Stephen Goosson | |||
A. Leslie Thomas | (as Leslie Thomas) | ||
Set Decoration by | |||
Louis Diage | |||
Wilbur Menefee | |||
Costume Design by | |||
Jean Louis | (gowns) | ||
Sound Department | |||
Frank Goodwin | .... | sound recordist | |
Stunts | |||
Bob Davis | .... | stunts (uncredited) | |
Mary Adams Hayes | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
Ned Scott | .... | still photographer | |
Music Department | |||
Morris Stoloff | .... | musical director (as M.W. Stoloff) | |
Arthur Morton | .... | orchestrator (uncredited) | |
Other crew | |||
Earl McEvoy | .... | assistant to producer | |
Mildred Pierce | Dial M for Murder | The Lady in the Morgue | Touch of Evil | Trapped by Boston Blackie |
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Full cast and crew | Company credits | External reviews |
IMDb Film-Noir section | IMDb USA section |
A detective is hired to investigate the real identity of client's wife, leading him into a tangled thicket of leads.
So where is Janie Joy. Detective Bailey's having a heckuva time finding out, what with all those luscious ladies parading in and outnot that I'm complaining. But the sorting process does get difficult at times. This is a detective story, and not classic noir, more like Philo Vance than Phillip Marlowe. LA-area locations are emphasized rather than light and shadow. But it is a good look at post-war LA, including the photogenic Buster Buffin's Buffett.
As the detective, the slender Tone brings a different kind of appeal. Wisely, the screenplay emphasizes his verbal skills rather than tough-guy brawn. In fact, he almost gets shoved around enough to embarrass fall-guy Elisha Cook Jr. Still, Tone does have a ready smile and easy charm. But that's also a problem for the movie. In short, characters and events lack the kind of grit needed to generate needed menace. Sure, there is a guessing game as to where Janie Joy is, but it's more like a brain-teaser than a fear factor. Plus, screenwriter Huggins clearly knows his way around wisecracks and clever banter. Yet the story's architecture remains murky and plodding. All in all, this is a movie of individual scenes rather than memorable whole.
Nonetheless, it's a good chance to ogle the ladies and their 40's fashions, along with Detroit's four-wheel designs, post-war, that is.