One Girl's Confession

Ill-gotten gains seldom prosper.

Sandwiched between " "strange fascination" and " bait" , "one girl's confession " ,although featuring the Moore/Haas couple is much more melodrama than film noir ; its numerous sudden new developments , its emphatic moral side ( the heroine wants to be punished for what she's done -though she has extenuating circumstances ,her father having been ruined by her boss- ,her good behavior in prison , her donation to charity , her desire to stay on the straight and narrow in spite of it all );sometimes her attitude takes naiveté to new limits : even if she may be afraid of being followed by a detective , telling where her dough is hidden to a man whose reputation is shady (an unrepentant gambler) is not very smart ,even though it provides the screenplay with another sudden new development.

The best idea is the scene with the gardener :pay attention to a moment which may be insignificant ,but has a pivotal importance for what comes next.

All around great movie.....so realistic in its nature, kept me glued to it and happy at the end, seen it a few times, one thing I realized today is the mailman who is delivering to the church at movie's end is a real mailman, he holds his mail correctly, so many movies they get that wrong!

Cleo Moore plays a remarkably strong-willed young woman who is an orphan kept as a work-slave in a waterfront café by the man who stole all her father's money. She is too glamorous for her own good, and no one stops ogling her for a minute, despite the fact that she has no time for that kind of thing. One night she accidentally sees the horrid old man receiving a large sum of cash in his office from a crook, to whom he has passed some stolen goods. She waits until he is asleep and creeps in and steals the money and takes it outside and buries it in a secret place where no one could possibly find it. She then confesses to the police the next morning that she is the thief, and is sent to prison, where she learns gardening and is told by the old gardener of the power which plant roots have to shift things underground and break through walls (this is important later in the story). She is let out after three years for her excellent behaviour and then makes her way back to the café, but it has been demolished and the old man has absconded to South America, so she cannot take revenge. She gets a job in another café owned by a compulsive gambler, to wait things out until she can be certain the various local crooks aren't following her when she goes to dig up the loot. He loses all his money and she wants to help him out with her stolen money. She also falls for a handsome young fisherman. Things get complicated and then more complicated. She sends someone out to dig up the dough but it isn't where she buried it. Then he suddenly comes into money and she thinks he has tricked her, so she goes to see him to protest and he ends up slightly dead, or is he? The film is very good viewing, and Cleo Moore is something all right.

This movie has everything: murder, deception, the big house, hidden loot, a fisherman in love with a dame, and the dame, Cleo Moore. Cleo tries to right a wrong against her deceased father by stealing money gotten under suspicious means by her boss and her father's supposed friend. When he calls the law on her, she refuses to tell where she hid it and ultimately spends time in the clinker. She is let out, on good behavior, and things start happening again. Wherever she goes, there's action in this witty and fast-paced film noir, written and directed by costar Hugo Haas, who plays her new boss. She tries to start a new life and to find the right time to get "her" money without being followed by the law. Every once in a while, you'll find a movie to really talk about. It may not win any awards, but it sure was a lot of fun, with quick one-liners, her hip-shaking figure, and trouble galore with Cleo Moore.

I suspect that in its day, most of the men who paid their fifty cents to see this in a theatre were happy the minute it started, as buxom, full-bodied, sensual Cleo Moore is stretched full screen on the beach late at night, having gone to sleep when she should be waiting tables elsewhere. In the first ten minutes of the film, driven by revenge for her father's death at the hands of her employer, Cleo decides to be very, very bad, robs her boss, and then pays the price! Bad Girl on The Move! Positives: The pace never flags, there are some fascinating camera angles reminiscent of Orson Welles, Moore is never less than charismatic (we don't watch these things expecting great acting), hunky Glenn Langen plays a local fisherman with an eye for the right blonde, and I would have paid twice just to experience the performance by the other bad girl, an extra named Ellen Stansbury who gives Cleo some competition! This film was released by Columbia Studios the same year they made the superior noir The Big Heat in addition to The Wild One, and From Here To Eternity--this little "B" special, directed by the infamous Hugo Haas, ain't heavy art and is barely noir--but I was never bored and often delighted. When it comes to Cleo, I'm easy to please.