Illegal

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.

Due to his brush with HUAC, Edward G. Robinson's career suffered throughout the 1950s; I hadn't watched that much of his work from this period myself – but have now managed to catch two (coincidentally, both semi-noirs made for the same director) in one day.

Though actually the second one, this was the superior effort: in fact, I found it to be quite an underrated genre outing – whose courtroom milieu supplies an added treat; for the record, it was the third screen version of a popular play of the 1920s (the others were THE MOUTHPIECE [1932], the best-regarded one, and THE MAN WHO TALKED TOO MUCH [1940]). Robinson is perfectly in his element here as a crusading D.A. who hits the skids after he sends an innocent man (STAR TREK's DeForrest Kelley!) to the electric chair – trying to pick up the pieces as a common civil lawyer, he falls in with a powerful gangster but is ultimately redeemed (in both senses of the word). At this point, the actor must have relished such a meaty part – particularly one that so vividly recalled some of his earlier vintage work (but most of all BULLETS OR BALLOTS [1936], a Robinson vehicle I watched for the first time only recently and greatly enjoyed, and which also sees him playing on either side of the law).

The play was here adapted for the screen by two notable scriptwriters, W.R. Burnett (author of LITTLE CAESAR [1930], which had made the star's name in the first place) and James R. Webb. The supporting cast is also well chosen: Nina Foch as Robinson's diligent assistant and surrogate daughter, who stays on with the D.A.'s office once the hero is disgraced; Hugh Marlowe as another Robinson aide who loves and subsequently marries Foch; Ellen Corby, one more member of Robinson's staff but who devotedly sticks with her boss; Albert Dekker as the gangster figure; and a debuting Jayne Mansfield as Dekker's 'talented' moll (her role reminded me of Marilyn Monroe's celebrated bit in THE ASPHALT JUNGLE [1950], coincidentally drawn from another popular W.R. Burnett novel).

Eventually, the mole in the D.A.'s office – suspected to be Foch due to her ties with Robinson – is discovered to be Marlowe who, when confronted by Foch, she ends up killing him in self-defense; Robinson defies his boss by taking up her case (protecting himself by secreting evidence that would point the finger at Dekker in the event that something happens to him). Though the film is an atypical noir and contains just one action sequence, Robinson's unconventional courtroom tactics are at least as entertaining and arresting: knocking out a burly witness to a brawl so as to prove his unreliability; drinking a dose of slow-acting poison himself in order to smash the new D.A.'s case against his client (an associate of Dekker's); at the end turning up in court mortally wounded to acquit Foch. By the way, a handful of paintings from Robinson's personal renowned art collection are passed off as Dekker's in the film!

Warners' exemplary DVD – issued as a double-feature, as part of their "Film Noir Collection Vol. 4", with Don Siegel's even better THE BIG STEAL (1949) featuring the great team of Robert Mitchum and Jane Greer – contains the trailer, an Audio Commentary (an extra I used to lap up in the past but haven't listened to one in a long time – chiefly due to time constraints and a huge backlog of films!) as well as two featurettes. One discusses the film proper (all-too briefly) and the other a vintage TV piece in black-and-white, hosted by the ubiquitous Gig Young, about courtroomers produced by Warners (with clips from the Oscar-winning THE LIFE OF EMILE ZOLA [1937] and two 'brand-new' efforts – Otto Preminger's THE COURT-MARTIAL OF BILLY MITCHELL [1955], which I haven't watched, and, of course, ILLEGAL itself with even a brief contribution from Edward G. Robinson).

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 marks the third time Warner Brothers told this tale of a lawyer's downfall and redemption. It was previously filmed as The Mouthpiece and The Man Who Talked Too Much with Warren William and George Brent playing the role that Edward G. Robinson does here. I've not seen the other two films as yet, but it's hard to imagine either of the other players doing it better. In fact both the other guys would certainly play it differently than Robinson.

Illegal finds Edward G. Robinson cast as a zealous prosecutor who convicts DeForest Kelley wrongly of murder. There's no last minute pardon from the governor however, no verdict set aside, because the evidence that could clear him comes as the switch is being thrown on the electric chair.

Robinson's an ambitious fellow who would like to have been governor or more, but this does set him back on his heels and he takes to drink. But soon enough he realizes he still has the skills so now he can put them to work for the other side.

That by the way is the standard way criminal defense attorneys are born, the best training they can receive can be as Assistant District Attorneys. After a nifty bit of legal legerdemain Robinson winds up working for mobster Albert Dekker. In the meantime his former assistant in the DA's office Nina Foch winds up killing her husband Hugh Marlowe when she discovers he's been a mole there for Dekker.

The legal legerdemain is by far the best bit in the film. Robinson gets James McCallion out of an embezzlement charge and fixes it so that McCallion's boss Howard St. John is left without a leg to stand on.

Jayne Mansfield lends her gravity defying presence to Illegal in one of her earliest films. She plays Dekker's moll and sings Too Marvelous For Words very badly. But as a singer it's not her voice that perks Dekker's interest.

In many ways the lead in this story is a dream role for a player. Every actor worth his salt wants a courtroom drama because of the histrionics involved. Robinson has several courtroom scenes on both sides of the fence and convicts and frees clients by some interesting methods.

In his memoirs Robinson called from 1949 with All My Sons until 1956 in The Ten Commandments as his B picture period. But I'm here to say that while the films weren't big marquee box office, they were pretty much well done dramas that Robinson brought his sense of professionalism to each role. Illegal is one of the best of them.

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.