Illegal

Illegal puts Edward G. Robinson through more perils than Pauline ever suffered. A tenacious District Attorney on his way to the governor's mansion, he resigns when a man he had sent to the electric chair proves innocent. But the civil practice he hopes to undertake goes bust, and he takes to the bottle (a plot development which goes nowhere).

Down and out, he defends a fellow inmate he encounters in a holding cell, and decides to apply his legal acumen to becoming a sharp, high-priced criminal attorney. To get off a guilty client, he grandstands in court by downing a bottle of poison placed in evidence, only to rush off to have his stomach pumped. (This particular ploy was originated by George Brent in 1940's The Man Who Talked Too Much.) He's such a brilliant mouthpiece he comes to the attention of civic crime boss Albert Dekker, whose blandishments he tries to resist.

Meanwhile, back at the D.A.'s office, he's left behind his protégé Nina Foch (looking matronly), whom he had taken under his wing when her father, an old mentor of his, passed away. Though he harbors romantic feelings for her, he gives his blessing when she announces her marriage to a young, ambitious lawyer, Hugh Marlowe. But a series of leaks from the office concerning Dekker's activities brings suspicion on all three. Ultimately, Robinson finds himself defending Foch for murder, during which Jayne Mansfield, Dekker's mistress, sashays to the witness stand in a wasp-waisted black outfit, replete with picture hat.....

The fast and too complicated plot takes a few pointless and baffling turns. Though on the talky side, there's a high quotient of gunplay. Still, it's absorbing. Robinson, still in his early-50s string of B-pictures owing to his guilt-by-association in the wake of the anti-Communist crusade, holds everything together with his bag of old tricks. And credit must go also to director Lewis Allen, who somehow brought a distinctiveness to several of his films which otherwise might have passed unnoticed: Desert Fury, Chicago Deadline, Suddenly. It's hard to point out just how, but he brought some of it to Illegal, too.

This movie may not look like a film noir, but there are some great film noir-type lines here, like the one I used in the subject head. I heard at least a dozen that I almost laughed out loud at because they were so good and/or clever. This is a not a "B" film with its dialog and terrific cast.

I agree it's not one that is terribly exciting, either, but it has more than its share of good points. One good starting point is the star: Edward G. Robinson. It's tough to knock a film with him in the lead. It's a little talky but there are some dramatic, surprising moments, too, with Robinson's "Victor Scott," doing some things you have to see to believe.

Nina Foch, Hugh Marlowe and Albert Dekker are all good in key roles, but I found it more interesting at times to see familiar faces in the supporting characters. Actors such as Ellen Corby ("Miss Hinkel"), DeForest Kelley ("Edward Clary"), Edward Platt ("Ralph Ford"), Jayne Mansfield ("Angel O'Hara"), Henry Kulky ("Taylor), Jan Merlin ("Andrew Garth") and a few others, were all fascinating. I liked Corby, in particular. You may not know all their names, but you know their faces. Kelley starred for years on "Star Trek" and Platt was the boss in "Get Smart." In Mansfield's case, you know more than just her face!

This is the first half of a film noir twin-bill recently offered on DVD. The other film is "The Big Steal," so you get two pretty good movies for the price of one.

Shades of the 1930's. It's Robinson and Warner Bros. in b&w, except Eddie's not a thug, instead he's an ex-DA turned gangland lawyer. Seems that as a prosecutor, he got the wrong man electrocuted. Now he's drinking and looking for the big money. Probably, there's an element of self-loathing, explaining why he goes over to the dark side. So, being a Code governed production, some final expiation is in order. On the whole, it's a good script by crime master WR Burnett, though I'm not sure I buy Ray and Ellen's showdown.

Even if he's a ripe 62, Robinson's lost none of his trademark self-assurance. He's as masterful here as a shady attorney as he was back in his gangster salad days. Then too, I'm really glad to see Ellen Corbett (Miss Hinkel) get a bigger role than her usual cleaning lady drudge, while underrated Jan Merlin does his icy bit as hit-man Andy. I'm just sorry we don't get close-ups of Merlin who could sneer with the best of them. Add the commanding Albert Dekker as boss Garland, and a warmer-than-usual Nina Foch as conflicted Ellen, and it's a superb lineup of cast principals. And, oh yes, mustn't overlook an exaggerated Mansfield. I guess her busty blonde was the movie's big concession to 50's fads.

The film may be a b&w throwback, at a time when the screen was turning wide and to color. Nonetheless, the movie succeeds in a way that I think movies are supposed to, namely, as engrossing entertainment, with a number of plot twists.

Illegal (1955)

If a little creaky on the edges, the core of this minor movie is solid as it gets: Edward G. Robinson as a troubled lawyer. It starts fast, gets faster, has some spectacular twists (in the courtroom, apparently based on real legal cases), and ends up being redemptive.

The support cast is the biggest problem here (and probably the direction that is trying to get the most out of them). The story is slightly sensational, and has some clichéd parts (the bad mobster, the crooked D.A., the woman caught in the middle) but it's a lot of fun at the same time. Director Lewis Allen is obscure, and possibly over his head in a fairly complicated movie. The only big name behind the scenes is the impeccable Max Steiner, so the score is terrific.

And Robinson shows how much he can act, again. It's worth it just for him.

Edward G. Robinson stars as District Attorney Victor Scott, a legendary legal mind with an unblemished conviction record. His confidence is shaken when a man that he had convicted and sentenced to death turns out to have been innocent, information obtained only after the innocent man was executed. After a lengthy wallow in drunken self-pity, Scott finds renewed purpose as a defense attorney, only to find himself involved with the sorts of shady characters that he used to put behind bars.

I enjoyed this minor yet entertaining crime/courtroom drama. It was great seeing Robinson in a substantial role in this phase of his career when he was "greylisted". Nina Foch shows more warmth than usual as a former colleague, and Ellen Corby gets more to do than usual as Robinson's later secretary. Mansfield isn't bad as the chief crook's kept woman. This gets handed the "noir" label in some sources, but I don't really see it in that light.