Moustroll Good movie but grossly overrated

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

Caryl It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

bensonmum2 Crooked politician Paul Madvig (Brian Donlevy) decides to go legit by riding the coattails of a respected reform candidate, Ralph Henry. Madvig is taken by Henry's daughter, Janet (Veronica Lake), but so too is Madvig's right-hand man, Ed Beaumont (Alan Ladd). Beaumont would do anything for Madvig including suppressing his feelings for Janet. Throw in the murder of Janet's brother, Madvig as suspect #1, a powerful hood Madvig double crosses, a DA who's on-the-take, a series of poison pen letters, and a brute named Jeff (William Bendix), and you've got the makings of a classic noir/mystery.The Glass Key is the kind of movie I can watch over and over. There's always something new and fresh to pick-up on. The plot may not be as convoluted as something like The Big Sleep, but there are more than enough twists and turns to keep things interesting. The final twist at the end when the murder is revealed is very nicely handled. The cast in The Glass Key is very strong. Ladd and Lake's on-screen chemistry is once again on full display. Their subtle glances during their first meeting is brilliantly played. I wish they would have made a dozen more movies together. Donleavy, Joseph Calleia, and Bonita Granville are all in fine form. Bendix is an actor I've never really cared much for, but here, he's perfect. The perverse pleasure he seems to get from beating the living daylights out of Ladd is a fine piece of acting. The scene with Bendix and Ladd sharing a drink has to be one of the oddest but most compelling I can remember seeing in a long time.Technically, I've got very few complaints. The movie looks like a million bucks. Scenes are drenched in that noirish lighting I enjoy. The film is nicely paced with few dull moments that don't advance the storyline. Stuart Heisler's direction is on-point and, as i indicated, he skillfully handles the final reveal. It''s a very well put together film.I've got a few complaints, but most are minor. If I'm pressed to mention one it would be the final scene. A Hollywood "happily ever after" ending is just not appropriate for the twisted tale that came before.Overall, a very fine film that I'll rate an 8/10.

Blake Peterson The B-movie branded film noir is a special thing. Not especially observant that they are, in fact, a film noir, and unwilling to milk their potentially stylish undertones, they work only in economic profusion, cutting to a murder here, a mugging there, a kiss here, a bloody climax there. Not every noir can be a coffee-stained greaser like "Raw Deal", but there's something wondrous about a pulp story that was, most likely, churned out by the studio in a hasty attempt to make money and still makes something special."The Glass Key" isn't quite a B-movie — it was distributed by Paramount and starred power screen couple Alan Ladd and Veronica Lake — but it is reminiscent of one. It's attempting to tell a story of corruption, deception, and its other disasters (with low-budget effect); yet, perhaps accidentally, it becomes a film noir of unique ambition, with its impeccable starring (and supporting) turns and hard-boiled writing.Adapted from Dashiell Hammett's novel of the same name and a remake of the 1935 film starring George Raft, "The Glass Key" stars Ladd as Ed Beaumont, the right-hand-man to Paul Madvig (Brian Donlevy), a corrupt political boss. When Madvig isn't throwing opponents out of hotel windows or telling his henchman Jeff (William Bendix) to beat an enemy to death, he's chuckling at crude jokes and falling for tough broads. In "The Glass Key", he falls in love with Janet (Veronica Lake), the daughter of reform candidate Ralph Henry (Moroni Olsen). Beaumont isn't so sure that the romance is a very good idea — Janet's motives are shaky, considering her background — and he would be right: she is increasingly drawn to Beaumont while remaining disgusted by the brutish Madvig.Things get worse for the boss and his sidekick when Madvig's sister's (Bonita Granville) lover, who he openly disliked, is found murdered in the street. The press, along with the people, believe that Madvig is responsible. Despite knowing that his employer isn't hardly a man of clean morals, Beaumont knows that he wasn't at fault, forced to clear his name in a town of beasts that would do anything to stop the truth from coming out.At only 82 minutes, "The Glass Key" hardly has enough time to go into much detail when regarding its corrupt characters, but within its short time, it successfully establishes a ferocious atmosphere, taking more time analyzing merciless beatings than the eventual romance between Ladd and Lake. The film is essentially a murder mystery; we want Madvig to be the killer — he's an asshole who sounds slightly like a demented Fozzie Bear — but things aren't as simple as we would like. As Beaumont attempts to do the right thing, he also has to get his hands dirty. "The Glass Key" thrives in a world where the sun doesn't shine. Love is a rarity among the relentless malfeasance.With his sly smile reminiscent of a young Humphrey Bogart, Ladd brings a tough-guy charisma to the screen at a dogged pace; his chemistry with the iconically provocative Lake works so well because they're both so subtly, to put it mildly, cool. And with the puff of a cigarette, a swig of bourbon, and a kiss on the lips, "The Glass Key" acts as an icily appealing noir that boasts a considerable amount of on screen allure.

edwagreen Talk about plot twists, this picture has got it all and then some.Crooked politician endorsing a reform candidate and he loves the latter's daughter. (Veronica Lake) His partner (Alan Ladd) also loves the girl. The reformer (Moroni Olsen) has a son with a gambling problem. (Richard Denning). Before long, the son is found dead and suspicion shifts to our politician (Brian Donlevy) since the dead son was fond of his sister, a very mature Bonita Granville. Talk about Peyton Place, this picture may have it beat.In addition, we have William Bendix as an enforcer to always evil Joseph Calleia, looking to frame Donlevy for the murder.Wait until you see how Ladd smokes out the real killer by accusing someone else in the end.Bendix is excellent in his role and steals every scene that he is in.

dougdoepke Good chance to catch Hollywood's greatest blond couple together in one of their best movies. My only question remains which of the two is prettier. Still, Lake wins out in the hair department, maybe for all time. The plot's pretty darn complicated but holds interest to the end, thanks to the expert casting.Those of us who remember Bill Bendix as the lovable Riley in radio & TV's Life of Riley boggle at his role here. As the sadistic thug Jeff, he's about as mean as they come. Actually, I'm surprised that the one particularly brutal beating passed the censors. In my book, it's the movie's most memorable scene. At the same time, it's good to know that Bendix and Ladd were such good friends off screen. Still, it's a rather shocking scene for the time.Sure, neither of the blonds was too good in the acting department. Yet each projected a strong, rather icy, presence that's hard to duplicate. Catch Ladd's mirthless grin more like a mask for his Beaumont character than an actual emotion. He's really very effective as a somewhat ruthless political operative. Then there's Lake who strikes effortlessly sultry poses, but with a cold heart underneath. The two are indeed a perfect match. The story's pretty convoluted, something about political influence entering into a murder mystery. Actually, it's a "buddy" picture as much as anything else, and one that sort of sneaks up on you. However, it's the characters, not the narrative that shines, including a dynamic Donlevy as the political boss and an oily Calleia as a mob kingpin. Together, they make life difficult for headliner Ladd. All in all, Paramount Pictures knew they had a winning two-some on screen, however difficult the screenplay.