LeonLouisRicci
Joined Apr 2012
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American Actor Robert Preston Exported to England for this Movie that is an Off-Beat Story of a Code Expert that Mentally Falls Apart.
Psychdological-Profile-Picture
His Wife is Killed by a Hit and Run Couple Fleeing from a Crime Scene at High-Speed. His Overwhelming Grief-Stricken Break-Down sets Him on a Path to Exact Pay-Back, Nothing Short of Killing the Couple Responsible.
It's a Haunting Psychological Study of a Flipped-Personality...Hero-to-Anti-Hero.
Suffering and Acting On a Distorted View from His Damaged Psyche... Known Today as Post-Traumatic-Stress-Disorder (PTSD),
In a Heart-Beat He Flips from a Devoted Loving Husband and War-Hero Family Planning...into...a Man with Another Plan.
A "Cat and Mouse" Thriller with Preston in Unreachable "Zombie" Mode.
A Bravura-Break from the "Norm" that Dominates the Crime-Genre.
Psychological Profiles is a Sub-Genre of Film-Noir, Stories Not Usually Welcomed in the "Main Stream". But a Ticket for Film-Noir.
High-Lighting with Low-Lighting the Ambiguity and Complex Abnormal Activities at Work on the "Dark Side of the Mind".
This Movie was Adapted from a Play by Leo Marks, a British Cryptographer (MBE) who Served in WWII.
He is the Famous/Infamous Author of the Screen-Play for "Peeping Tom" (1960) that Soiled the Reputation of Director Michael Powell.
Marks Wrote a Critical Book Based on His War-Time Service..."Between Silk and Cyanide".
Psychdological-Profile-Picture
His Wife is Killed by a Hit and Run Couple Fleeing from a Crime Scene at High-Speed. His Overwhelming Grief-Stricken Break-Down sets Him on a Path to Exact Pay-Back, Nothing Short of Killing the Couple Responsible.
It's a Haunting Psychological Study of a Flipped-Personality...Hero-to-Anti-Hero.
Suffering and Acting On a Distorted View from His Damaged Psyche... Known Today as Post-Traumatic-Stress-Disorder (PTSD),
In a Heart-Beat He Flips from a Devoted Loving Husband and War-Hero Family Planning...into...a Man with Another Plan.
A "Cat and Mouse" Thriller with Preston in Unreachable "Zombie" Mode.
A Bravura-Break from the "Norm" that Dominates the Crime-Genre.
Psychological Profiles is a Sub-Genre of Film-Noir, Stories Not Usually Welcomed in the "Main Stream". But a Ticket for Film-Noir.
High-Lighting with Low-Lighting the Ambiguity and Complex Abnormal Activities at Work on the "Dark Side of the Mind".
This Movie was Adapted from a Play by Leo Marks, a British Cryptographer (MBE) who Served in WWII.
He is the Famous/Infamous Author of the Screen-Play for "Peeping Tom" (1960) that Soiled the Reputation of Director Michael Powell.
Marks Wrote a Critical Book Based on His War-Time Service..."Between Silk and Cyanide".
A No-Talent, No-Budget, although Early, an Embarrassing Entry into a New Sub-Genre Called "Police Procedural" that Intentionally Killed "Film-Noir", Cinema's "Bad-Boy" Genre.
Begin Digression...
In 1951 Following the Fantastic Film-Noir Frenzy, "Big-Brother" Decided that the "Underbelly" Gutter Tendencies of the "Organic Birth" of the Dark, Brooding, Gritty, Neo-Realism of the "Dark-Side" of the Species Had-to-Go,
The Showcasing of "Man's" Undignified, Corruption and Crime was a "Downer" Not in "Lock-Step" with the Emerging Exploitation of the Eisenhower Leadership Emphasizing the Victorious End to Fascism (Germany & Italy) and Anti-Democratic (Japan & Others) Forces Out to Destroy America and its Allies.
It was a Time to Celebrate with Opulence, Suburban Expansion with Back-Yard-Barbs, Cars in Every Garage, and a "Chicken In Every Pot".
Film-Noir Reeked of Sin, Cynicism, Crime, Corruption, and a Powerful Force of Evil Invading the Very Essence of the "American Dream". Ultra-Consevratism as Policy was On-the-Move and the "Arts" (Movies) were Viewed as a "Bad Influence" on Family Values and God-Fearing-Americans.
So, Every Thing that Could be Done was Being Done to Rid the Culture Corrupting Cinema of its "Left-Wing" Attitudes and an Adjustment was Needed and Now.
The Result was to Halt the Popularity of Film-Noir and Replace it with More Friendly Film Choices that were Inspirational for the True-American-Citizens that were the Antithesis of the Film-Noir Forte.
Almost Over-Night the True Backbone of "Noir" was Replaced by what soon would be Called the "Police Procedurals" with Heroes Spun Out of the Government, FBI (j. Edgar Hoover now there is a real Leader-Hero to admire), Local and State Police Enforcement, and Others Deemed and Designated as Influences for Decent Democratic Ideals......
End of Digression
"Finger Prints Don't Lie" was in on the "New Wave" of the New Genre and its Low-Low-Budget and its 57min Run-Time Cued "Fingerprint Analysis" as its Selling-Point Core.
In that Regard, this was a Matter of "Just the facts Sir" Look-See at the Data Shown, while Extremely Dated Now, was Probably Engaging and New for the Early-50's Movie-Goers.
However, this is a "Poverty-Row" Picture from "Lippert"...the Cast included Old Hangers-On Like Lyle Talbot...Fresh Faces Like Tom Neal, who would soon do 6 Years for "Involuntary Manslaughter"...Another Familiar Face in No-Budget Quickies whose Job would Always be the "Comedy Relief") it was not "Comedy" and the Only Relief was when He Exited the Stage.
The Movie is of the "Ed Wood" Style of Movie-Making with Not an Ounce of Eddies Unintentional Charm and Movie-Making-Chops,
Begin Digression...
In 1951 Following the Fantastic Film-Noir Frenzy, "Big-Brother" Decided that the "Underbelly" Gutter Tendencies of the "Organic Birth" of the Dark, Brooding, Gritty, Neo-Realism of the "Dark-Side" of the Species Had-to-Go,
The Showcasing of "Man's" Undignified, Corruption and Crime was a "Downer" Not in "Lock-Step" with the Emerging Exploitation of the Eisenhower Leadership Emphasizing the Victorious End to Fascism (Germany & Italy) and Anti-Democratic (Japan & Others) Forces Out to Destroy America and its Allies.
It was a Time to Celebrate with Opulence, Suburban Expansion with Back-Yard-Barbs, Cars in Every Garage, and a "Chicken In Every Pot".
Film-Noir Reeked of Sin, Cynicism, Crime, Corruption, and a Powerful Force of Evil Invading the Very Essence of the "American Dream". Ultra-Consevratism as Policy was On-the-Move and the "Arts" (Movies) were Viewed as a "Bad Influence" on Family Values and God-Fearing-Americans.
So, Every Thing that Could be Done was Being Done to Rid the Culture Corrupting Cinema of its "Left-Wing" Attitudes and an Adjustment was Needed and Now.
The Result was to Halt the Popularity of Film-Noir and Replace it with More Friendly Film Choices that were Inspirational for the True-American-Citizens that were the Antithesis of the Film-Noir Forte.
Almost Over-Night the True Backbone of "Noir" was Replaced by what soon would be Called the "Police Procedurals" with Heroes Spun Out of the Government, FBI (j. Edgar Hoover now there is a real Leader-Hero to admire), Local and State Police Enforcement, and Others Deemed and Designated as Influences for Decent Democratic Ideals......
End of Digression
"Finger Prints Don't Lie" was in on the "New Wave" of the New Genre and its Low-Low-Budget and its 57min Run-Time Cued "Fingerprint Analysis" as its Selling-Point Core.
In that Regard, this was a Matter of "Just the facts Sir" Look-See at the Data Shown, while Extremely Dated Now, was Probably Engaging and New for the Early-50's Movie-Goers.
However, this is a "Poverty-Row" Picture from "Lippert"...the Cast included Old Hangers-On Like Lyle Talbot...Fresh Faces Like Tom Neal, who would soon do 6 Years for "Involuntary Manslaughter"...Another Familiar Face in No-Budget Quickies whose Job would Always be the "Comedy Relief") it was not "Comedy" and the Only Relief was when He Exited the Stage.
The Movie is of the "Ed Wood" Style of Movie-Making with Not an Ounce of Eddies Unintentional Charm and Movie-Making-Chops,
The 1950's, No One will Argue, was the Decade of the "Western". Yea, Sci-Fi was the Dominate Genre, but it was the Western Genre that was Predominate. Especially Considering TV and that Included, at any Given Time in the Decade, Consisted of 60-65% Westerns.
Always a Popular Genre, but Until 1939 and "Stagecoach" almost all of the Movies were "B" Budget, "Kiddie Fare".
Even after John Ford's Seminal Film, a Decade had Passed and "The Western" was Still Entrenched in Cliches with Traditional "White-Hat Black-Hat" Stories with Little Variation in Tone and Plot from One After Another.
The 1950's Zeitgeist Got Hold of a "Cash-Cow" and the Numbers the Genre Put-Up Expanded Exponentially with the Speed and Force of a Juggernaut. The Amount of Westerns being Produced was a Phenom.
The Volume of Movies almost Demanded a "Change", An Evolution, a Metamorphosis, that Begged Something Significant to Enrich the Format so the Makers of Westerns and the Fans Would Not become Bored or Numbed by the Large Herd Stampeding Across America's Screens.
Two Great Directors were just what the "Sawbones" Ordered.
Possessing the Skill, Talent, and Artistic Creativity to Mature the Genre. It was Obvious "The Western" had "Come of Age". It was Time for the Genre to be Handled Like an Adult.
So, that's what Anthony Mann, with the Help of Jimmy Stewart and Budd Botticher, with the Help of Randolph Scott Accomplished.
They put a Whole New Face on. The Films, and Added Complexity, such as Psychology, Philosophy, and Adult Themes, Including Ramping-Up the Sex and Violence.
"The Western Genre" Wore its New "Pride" so Well there was No-Going-Back to the Previous "Age of Innocence".
So, when You are Watching this Forgotten, Dismissed, and Ignored Film, and it seems and Feels so Different. It's because it was Influenced by the Aforementioned Adjustment. It Took Hold and Wouldn't Let Go.
While Not in the Same League as the "Masters" Mann and Boettichier Made, It Certainly was one of the First-Cousins. That Family, and the 2 Founding Fathers should be Considered "Cinema Royalty".
Always a Popular Genre, but Until 1939 and "Stagecoach" almost all of the Movies were "B" Budget, "Kiddie Fare".
Even after John Ford's Seminal Film, a Decade had Passed and "The Western" was Still Entrenched in Cliches with Traditional "White-Hat Black-Hat" Stories with Little Variation in Tone and Plot from One After Another.
The 1950's Zeitgeist Got Hold of a "Cash-Cow" and the Numbers the Genre Put-Up Expanded Exponentially with the Speed and Force of a Juggernaut. The Amount of Westerns being Produced was a Phenom.
The Volume of Movies almost Demanded a "Change", An Evolution, a Metamorphosis, that Begged Something Significant to Enrich the Format so the Makers of Westerns and the Fans Would Not become Bored or Numbed by the Large Herd Stampeding Across America's Screens.
Two Great Directors were just what the "Sawbones" Ordered.
Possessing the Skill, Talent, and Artistic Creativity to Mature the Genre. It was Obvious "The Western" had "Come of Age". It was Time for the Genre to be Handled Like an Adult.
So, that's what Anthony Mann, with the Help of Jimmy Stewart and Budd Botticher, with the Help of Randolph Scott Accomplished.
They put a Whole New Face on. The Films, and Added Complexity, such as Psychology, Philosophy, and Adult Themes, Including Ramping-Up the Sex and Violence.
"The Western Genre" Wore its New "Pride" so Well there was No-Going-Back to the Previous "Age of Innocence".
So, when You are Watching this Forgotten, Dismissed, and Ignored Film, and it seems and Feels so Different. It's because it was Influenced by the Aforementioned Adjustment. It Took Hold and Wouldn't Let Go.
While Not in the Same League as the "Masters" Mann and Boettichier Made, It Certainly was one of the First-Cousins. That Family, and the 2 Founding Fathers should be Considered "Cinema Royalty".
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