One Girl's Confession

I've decided that Hugo Haas is one of the undiscovered gems of film noir.

He had a knack for making quirky little movies that are tons of fun and as casting himself in likable and memorable roles. He also managed to get terrific performances out of mostly unknown actresses. In this one, that actress is Cleo Moore, who reminded me for the entire movie of a blonde, 1950s version of Marcia Gay Harden. She plays a young woman who steals some money, fesses up, spends time in jail, then goes back to get the money, which she hid away in a forest, once she's released. But the interference of her bar owner boss (played by Haas) complicates things, and we wonder for a while if she'll ever recover the money.

I was really rooting for her to, since she ends up being such a winning character. She's basically a really good person, even if she's got a noirish femme fatale attitude. Every time she does something wrong, she immediately confesses to it, a recurring detail that I thought was pretty funny, whether intentionally so or not. There's also a hunkadoodle sailor played by Glenn Langan, he of the manly, hirsute forearms, but he doesn't have much to do except stand next to Moore every so often, towering over her and looking like he wants to rip her clothes off. One can't really blame him.

This is just a really fun little pot boiler.

Grade: A-

I suspect that in its day, most of the men who paid their fifty cents to see this in a theatre were happy the minute it started, as buxom, full-bodied, sensual Cleo Moore is stretched full screen on the beach late at night, having gone to sleep when she should be waiting tables elsewhere. In the first ten minutes of the film, driven by revenge for her father's death at the hands of her employer, Cleo decides to be very, very bad, robs her boss, and then pays the price! Bad Girl on The Move! Positives: The pace never flags, there are some fascinating camera angles reminiscent of Orson Welles, Moore is never less than charismatic (we don't watch these things expecting great acting), hunky Glenn Langen plays a local fisherman with an eye for the right blonde, and I would have paid twice just to experience the performance by the other bad girl, an extra named Ellen Stansbury who gives Cleo some competition! This film was released by Columbia Studios the same year they made the superior noir The Big Heat in addition to The Wild One, and From Here To Eternity--this little "B" special, directed by the infamous Hugo Haas, ain't heavy art and is barely noir--but I was never bored and often delighted. When it comes to Cleo, I'm easy to please.

ONE GIRL'S CONFESSION was one of the more popular "B" movies of the 1950's and made a modest name for it's voluptuous blonde star, Cleo Moore, as the Marilyn Monroe of the second feature. Cleo as cast as the poorly treated ward of a crook who runs a dump of a restaurant on a dock. Tired of his nastiness, Cleo decides to steal the small fortune the man has racked up in his latest illegal activity. She then buries the loot, turns herself in and serves out her jail term, knowing the money is safely stashed. But is it? And what will our blonde bombshell of a convict do with the loot once she's free? This is quite an entertaining little potboiler in which Cleo utters the semi-famous movie quote "Men are all alike, their faces are just different so you can tell them apart."

Cleo Moore stars as a blonde with a crazy plan. Near the beginning of the film, she robs her boss. He is a jerk and she feels entitled to the money--all $25,000. But, when the cops arrive, she freely admits to the robbery and goes to jail. There, she behaves well and just bides her time--waiting until she can get out and claim the money after the heat's subsided.

Three years pass. She gets out early on good behavior and continues to bide her time. Eventually, she will have her money and make it all worth while. However, in the meantime, it appears as if one of her new friends has found and stolen this money herself--and she's determined to get that money or revenge. However, there are some dandy twists that make it well worth seeing at the end of the movie.

Overall, a clever script and one of the better film noir B-movies. Moore is excellent as a 'dame' and the film is a must-see for noir fans. Fortunately, this film is now out on DVD along with another little-known noir film, NIGHT EDITOR.

By the way, this film features an appearance by one of my favorite TV actors of the 50s-70s, Burt Mustin. He alone is more than enough reason to see anything--even a tiny appearance like in this movie.

This film could have easily been a tawdry exploitation film. Instead, it is a solid B move acted out by very good B actors. The writer is the real star of the film, as the story has several twists and turns, and the viewer will be fooled at least once. Cleo Moore, a very strong B actress who specialized in making several entertaining B films, has the lead in this one. She plays a struggling waitress working for a man who stole her father's business.

The miser gets what's coming to him (without violence), and Cleo takes his life savings. The film moves on from there with several nuances. Supporting Moore in her role is the king of B movies, Hugo Haas, who probably made more B films than any other actor I know of; at least in major roles. He plays a gambling owner of another hangout that Cleo eventually comes to work for. There is also a fisherman as a romantic interest. Well worth viewing.