Finger of Guilt (1956)

Waste of time

Awesome Movie

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

a rainy day in the upper Midwest,and waiting to pick up my grandson from school. had me turning on TCM during it's summer under the stars to see who was being featured today. Constance Cummings I was unfamiliar with, however in the previous movie along with Cummings Ralph Bellamy and Irene Dunne stared. I began watching " finger of guilt. having grown up watching 20,000 leagues under the sea with Richard basehart? ( I think that was the name of the series) I began to watch this film. I love location movies, in particular London in the mid 50's. what a terrific movie. basehart was outstanding and Mary Murphy was absolutely stunning. her beauty and the role she played was outstanding. the supporting actors were great. all recognizable , and such pro's. that made a low budget film so wonderful. really a great surprise for a rainy day. wonderful movie !

"Finger of Guilt" was directed by Joseph Losey and written by Howard Koch, under a pseudonym' both he and Losey were called to testify during the Red Scare and refused. Both men were certainly capable of interesting work; somehow this film comes off as not that special. The problem may be that it was originally 95 minutes and the version shown is 84.That can make a huge difference.Richard Basehart is a film executive who left Hollywood after a scandal. Now he is in England, married to the boss' daughter (Lesley Wilson) with an excellent job at a studio, run by his father-in-law (Roger Livesey).Reggie (Richard Basehart) has been receiving letters from someone he first believes is a fan, but the letters have become more aggressive, stating that they had an affair, and that she wants to continue it. Reggie is positive he doesn't know the woman, let alone had an affair with her.He shows them to his boss Ben (Livesey). Then his wife receives a letter from this person, and Reggie decides to find her and confront her. His wife insists on accompanying him. The posts come from Newcastle, and they find the address, a rooming house.The woman (Mary Murphy) turns out to be an actress and she knows way too much. She knows what he drinks and how he drinks it, where he's traveled -- Reggie begins to think he has a double personality. Meanwhile everyone seems to believe her, including his wife.I wouldn't call this a film noir; it is an interesting movie that keeps you guessing but I for one was disappointed in the denouement.Constance Cummings plays an actress, an old lover of Reggie's, who is supposed to star in his film, which is in jeopardy. She is excellent, as is Basehart.I won't say this is a bad film at all, it just doesn't have Losey's artistic touches. Having seen films he made with Dirk Bogarde, this just seemed like an ordinary film for him. But again, I haven't seen the uncut version.Worth checking out.

This has to be one of the most unrealistic movies that ever came down the pike. It may have been unintentional but the irony of setting something largely in a film studio, i.e. a place where they manufacture unreality, and then portraying that studio as a neglected corner of a run-down industrial estate is priceless. Richard Basehart as head of the studio has an office about as prepossessing as that of a minor official in Eastern Europe in the late sixties and that of his father-in-law and movie mogul Roger Livesey is superior only in the sense that it boasts superior oilcloth on the floor. The story, by Howard Koch, who - unbelievably on this showing - co-scripted Casablanca, is so clearly a metaphor for the Blacklist (both Koch and director Losey, were victims and worked here under John Does) that it becomes risible which it shouldn't do because there were many innocent victims 'accused' of things they hadn't done during the HUAC years and the denouement involving Mervyn Johns is pathetic. Losey completists will want to see it but of you're not one stay home and watch Big Brother.

This is a stylish and engrossing noir. The music seems a bit dated but the use of background sound is inventive and seems to presage Godard's. Is this Joseph Losey's best? No. "Time Without Pity," a year later, is far more powerful and less predictable. Not at all predictable, actually, and this one is. The resolution is not a surprise, exactly, but it is powerfully presented and moving.Mary Murphy played a good bitch. I haven't seen her in many movies but it seems that she often was cast in this was. Losey uses the clattering of her high heels effectively. Actually, she is not a thoroughly bad character. She feels remorse.Constance Cummins is excellent as the star imported for the main character's big project. Her helping him out of his predicament is touching. And Richard Basehart: One of the best American actors, he is superb here. He did not win the conventional awards but will long be remembered, if only for his beautiful playing in "La Strada" (and for his mousy pharmacist in what I consider the perfect noir: "Tension.")