Cry Danger, directed by Robert Parish and written by William Bowers from a story by Jerome Cady, features Dick Powell, Rhonda Fleming, Richard Erdman, Regis Toomey, and William Conrad. Paul Dunlap and Emil Newman composed the music, with Joseph F. Biroc handling the cinematography. It’s always fascinating to hear film fans debate what exactly defines film noir—what each viewer expects, which style they prefer. It's rare for a group of people who enjoy noir films to completely agree, and that ongoing discussion is part of why so many find it appealing. I noticed that one early review questioned whether *Cry Danger* even qualified as noir! That seemed like an extreme position to me. The basic plot seems straightforward: Rocky Mulloy (Powell) was wrongly imprisoned for five years and is now out seeking the person responsible for his conviction. The police are interested in him because of money connected to the crime he served time for. So far, it’s a fairly typical revenge story—but this isn't what you would expect, as we find ourselves in noir territory, specifically in a less wealthy area of Los Angeles, where the story unfolds from a trailer park. Mulloy is calm, tough, and quick with a dry remark. He’s joined by Delong (Erdman), an alcoholic army veteran who walks with a limp and has his own witty way of dealing with his condition. The police are led by Detective Lt. Gus Cobb (Toomey), a seasoned officer known for sharp dialogue. Then there's Nancy Morgan (Fleming), Mulloy’s former girlfriend, now married to a man who is currently in prison for the crime at the heart of everything. Add in Louie Castro (Conrad), a villain with a distinctive mustache, and a ukulele-playing trailer park manager (Jay Adler), and you have a noir film full of interesting elements. The dialogue is sharp and witty, and the story maintains its noir feel through themes of greed and betrayal. The ending also delivers on what’s expected from the genre. From a production standpoint, it's well done; the moderate budget doesn’t hold it back. In fact, you only realize how concise it is—just 80 minutes without unnecessary scenes or filler. Every scene serves a purpose, and because this is so character-driven, you need to pay attention to every word and interaction between characters. While more dramatic lighting would have been nice, Biroc and Parrish use light and the placement of objects in the foreground and background effectively. The cast performs exceptionally well, with Powell delivering a particularly understated performance (sarcasm personified). This is definitely one that noir fans should add to their viewing list. It earns an 8/10.

Source on TMDB