Plantiana Yawn. Poorly Filmed Snooze Fest.

Platicsco Good story, Not enough for a whole film

Lightdeossk Captivating movie !

Senteur As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Spikeopath Framed (AKA: Paula) is directed by Richard Wallace and adapted to screenplay by Ben Maddow from a story written by Jack Patrick. It stars Glenn Ford, Janis Carter, Barry Sullivan and Edgar Buchanan. Music is by Marlin Skiles and cinematography by Burnett Guffey.Mike Lambert (Ford), down on his luck and fed up of getting nowhere in life, meets sultry waitress Paula Craig (Carter) and things will either get better or worse?There's a road sign in this that grabs the attention, it reads DANGEROUS CURVES! Now that initially is in reference to a perilous road - with roads featuring prominently as dangerous parts of the play - but it quite easily could be, and in all probability is, a sneaky reference to Janis Carter's femme fatale. Paula Craig in Carter's hands dominates the film, not that Ford or Sullivan are pointless fodder, but it is both the actress and her character's show.After a burst of pacey excitement opens the pic, action moves on to a cafe, from where we are introduced to Guffey's talents, from this point on almost everything is atmospherically shot. Slats and shads, lamps and cell bars, all get the Guffey lens treatment that's sitting superbly with the unfolding psychological dynamics. Very early on we are delivered two characters who basically are a cheater and a viper, while the main man of our story is a guy who struggling with his identity in life. He also likes a drink, but with that comes memory loss, which is never a good thing when you are holed up in a noirville town.Stripping it back for examination you find the story is very simple, which is surprising and a little disappointing given the screenplay writer also did The Asphalt Jungle. Yet the characters and the actors performances, helped by some classy tech work, more than compensates - that is until the finale, which for some (me for sure) is a bad choice for character tone. But it's not a film killer, for we get everything from orgasmic glee shown in the process of a callous crime being committed, to characters either in need of a soul or facing their days of judgement. 7/10

Robert J. Maxwell "Framed." A great title. Plus there is Glenn Ford, who brought so much torque to the role of heedless avenger in "The Big Heat." Then there is the plot, involving embezzlement, attempted poisoning, drunkenness, betrayal, murder, and playing doctor.The narrative is really too twisted to go into in any detail but the general idea is that Barry Sullivan is a banker who pretends to lend the grizzled old prospector, of which there is no other kind, a quarter of a million dollars, then steal the money himself, murder the old prospector, and frame the innocent mining engineer, Glenn Ford, for the crime. After that, Sullivan and his girl friend, Janice Carter, will take the loot and leave town. I hope I got that right.Sadly, although it looks like a neat noir thriller, it's just an ordinary, rather slapdash story of greed and treachery.Example of "slapdash." There's a scene towards the end in which Janice Carter realizes that Ford suspects her of the murder of which she is, in fact, guilty. She offers to make him some coffee. Alone in the kitchen, she reaches for a bottle of poison in the spice rack. Now, this bottle deserves some attention. It's not labeled "rat poison" or "weed killer." It's just labeled in bold black letters "POISON", as it would be in a Laurel and Hardy short. Add to it that the bottle is simply tucked in among the sugar and condiments -- probably alphabetized, just after "paprika" and just before "rue." She dumps some in his cup of coffee. Anyone who imagined how, say, Hitchcock would have handled this scene must have wept.Ford does little to help the narrative along. He's sullen and intense throughout, though capable of a much better display of skills. Janice Carter may have been a genuinely nice lady in real life -- kind to children and small animals. And she was a singer too. But her every expression, each utterance, each movement, are variations on the theme of perfidy. She telegraphs what she's thinking, and she does it with the subtlety of a traffic light. This is "worried." Now I'm "plotting." Here is "lying." Edgar Buchanan gives what is, for him, an animated performance. He's good natured and trusting, but dignified and practical too. He's a delight in a solemn movie like this.

wsnoce Ford was a natural for film noir, and "Framed" illustrates this. He is a more vulnerable character than we're used to seeing him play in his other films, and he seems to be easily duped by a beautiful blonde(Janis Carter). Carter puts in a solid performance and should have been in more films of this type. She is perfect as the scheming and seductive Paula.Barry Sullivan is a bad guy here, the co-schemer with Paula. While the plot is somewhat predictable, it does include enough surprises to make it a good film noir. It puzzles me that Framed has apparently not been released on any format in video in either Region 1 or Region 2.Perhaps Sony will produce a Volume 4 of Columbia film noir and include Framed.

gordonl56 FRAMED - 1947I have had this one laying around for several years gathering dust so i decided it was time for a viewing. What a great little film noir it turned out to be!Glenn Ford, Barry Sullivan and Janis Carter headline this classic femme fatale ditty. Ford is a man who gets set up to take the fall for a bank robbery. The bank manager and his girl, played by Sullivan and Carter, plan to help themselves to $250 grand of the bank's cash. They plan to liquor Ford up, plant Sullivan's id on him and stick him behind the wheel of Sullivan's car. Then off a cliff and let the fire take care of the rest. Sullivan however has underestimated just how much Carter wants the cash. She applies a monkey wrench to the back of Sullivan's head instead of Ford. She then lets Sullivan take the spin off the cliff. Carter then sets Ford up as Sullivan's killer. Needless to say Carter's perfect plan is anything but. Carter comes across as a Joan Crawford clone in this one. A cold and calculating femme fatale if ever there was one. A brisk and to the point noir with cast and crew all shining. Great time-waster. (b/w)