F.B.I. Girl

For a Lippert Production, this sports a cast of A-picture performers. George Brent and Cesar Romero are FBI men. Audrey Totter, still at her prime and looking lovely, helps the Bureau out. Raymond Burr is a villain. Tom Drake plays a good guy. And hey! It even has Joi Landsing!

The plot is only slightly more than routine: A weak governor has a criminal past. His fingerprints could reveal that. So Burr sets out to switch those fingerprints around. At any cost.

As a sidelight, this movie features three actors who are now known to have been gay: Burr was not open about it. Romero took few pains to keep it quiet. Drake, Judy Garland's "boy next-door" -- I don't know. Not much is known about his life other than that proclivity.

This coincidence has no effect on the film, which is surprisingly good for something that was obviously made on the cheap. But it's a footnote to the sociological history of Hollywood.

Among my William Berke's favourites with BETRAYAL FROM THE EAST, the most interesting crime films he ever made, with a good plot, a good cast and a good surprise because there are no real lead character here, no one and unique hero above the rest of the cast. It is not too long and it is tense all long the movie. Produced by Lippert Company, it is at the same quality scale as a RKO picture, a company for which William Berke also worked. The cops duo, some kind of a buddy scheme - Cesar Romero, George Brent - is a bit improbable but surprising in the good way. You can trust me, this film is not a masterpiece but a damn good B movie.

You want to talk about dated - the sight of people going through paper files of people's fingerprints - wow.

Something else dated - there was a time when someone planning to run for governor was concerned about an old murder he committed under another name being discovered when his fingerprints are run. I guess back then if you had a record, it would be difficult to be elected.

In order to keep his secret, the card with the fingerprints has to be stolen. Pressure is brought to bear on a man to make his sister steal the card.

Several murders follow.

Done in the semidocumentary style of the day, the film stars Cesar Romero, George Brent, Audrey Totter, and Raymond Burr.

One thing I noticed immediately- one of the members of a particularly awful TV act was none other than Hollywood Squares host Peter Marshall.

Cesar, Audrey, and George had seen better days as this was a strictly B movie. Raymond Burr was looking toward a bright future in television.

This is a pretty good moderate budget Noir film. While it was produced by small-time Lippert Productions, it did have some relatively well-known names. The lead FBI agent was played by Cesar Romero and in a supporting role was George Brent. This was quite a change for Brent, as in the 30s and much of the 40s, he was a star. Here, his role is relatively forgettable--Romero is definitely "the man". In addition, Audrey Trotter plays a significant role in the film. However, although these three were bigger names at the time, the most important and interesting part in the picture was played by Raymond Burr. This was long before he gained fame from television, during the late 40s and 50s he was a perennial supporting heavy in Noir films. Here, however, his role is bigger and more interesting that ones he played in such Noir classics as BORDERLINE, HIS KIND OF WOMAN, DESPERATE and RAW DEAL. That's because instead of just another thug taking orders, here he is the schemer who makes all the decisions. And, when need be, he's tough as nails and ruthless--such as when he smacks Trotter around when she doesn't give him what he wants! The plot of the film is rather timely, as crooked politicians aren't exactly an unknown concept these days. The governor of a state (which one is never mentioned) is afraid because he's actually wanted for murder under another name for a crime he committed many years ago. With plans for running for the Senate, he's naturally worried that his true identity will come to light. So, it's up to his "fix-it man", Burr, to infiltrate the FBI and destroy his record. However, the Bureau finds out that someone did the theft but aren't sure whose record was stolen or why. So it's up to Romero and Brent to investigate--and investigation that eventually leads them to Trotter.

The film is very high on realism though relatively low on excitement. While there are some very sensational moments (especially the cool ending with Romero and his Tommy Gun), the film is much less concerned with way-out Noir sensibilities (such as camera angles and snappy dialog) and more on the realistic portrayal of procedures. In some ways, this is rather reminiscent of the radio and TV show "Dragnet" in mood and structure and that results in a very watchable and interesting film made even more so by Burr's exceptional performance.

As usual for director William Berke, who had been producing and/or directing low-budget crime, action, and western films since the mid-30s, FBI Girl creates a nice hard-boiled feel, moves quickly, and still plays well today. It's the story of a crooked governor who tries, with the help of his evil henchman Raymond Burr (always convincing as a sadistic heavy!), to cover his criminal activities decades before by having a set of fingerprints stolen from FBI headquarters, fingerprints that would establish his true identity. Ace FBI agent Cesar Romero (who also intrudes once or twice with narration) discovers a few details that don't add up in a seemingly unrelated case, and the plot takes off from there. The strong cast--Burr, Romero, George Brent, Audrey Totter, Tom Drake-- helps a lot, and overall it's a solid "B"-programmer from the underrated Lippert Pictures. There's also a strange sequence where some of the characters are watching the comedy team of Tommy Noonan (of Promises, Promises fame) and Peter Marshall (of Hollywood Squares fame) perform on television! That's a novel way of working them into the film (usually there would be a scene where the characters go to a nightclub; however, this was no doubt cheaper to film than a nightclub scene). Recommended for fans of post-war crime films and early Television police shows. By the way, the scene depicted on the movie poster-- of Audrey Totter standing seductively wearing a form-fitting outfit with a slit up the side and holding a gun--appears nowhere in the film (she's not an agent, but a clerk, and certainly would not be holding a gun!), but it looks great!