It’s striking how he always seems to strike when it rains. Follow Me Quietly was directed by Richard Fleischer (with uncredited assistance from Anthony Mann) and adapted to the screenplay by Lillie Hayward from a story penned by Mann and Francis Rosenwald. The film stars William Lundigan, Dorothy Patrick, Jeff Corey, Nestor Paiva and Paul Guilfoyle; Leonid Raab handled the music and Robert De Grasse was responsible for the cinematography. A serial killer known as "The Judge" is terrorizing the city, with a habit of attacking during rainfall and using strangulation as his method. The police have numerous small clues but nothing substantial to work with. The pressure begins to affect Lt. Harry Grant (Lundigan), who comes up with an ingenious idea for catching the killer—a mannequin! Though not widely recognized, its release on home video brought it more attention and made it a sought-after title among admirers of Anthony Mann. It has proven somewhat polarizing, so this enthusiastic review should be considered within that context. Running just under an hour, Fleischer’s film is by definition a compact RKO “B” picture, but the quality of the story and the small touches of noir craftsmanship ensure it possesses numerous strengths. Essentially, it's an early police procedural centered on the pursuit of a serial killer. There’s also a female character, Dorothy Patrick as an intrepid reporter who makes her entrance wearing a nearly transparent raincoat—which is quite nice. She joins forces with Grant, not as a femme fatale, but as a sort of wry partner; suggestion and sexual tension are present, though nothing feels forced into the film. The police officers are all stoic types, dressed wonderfully for the period, but Lundigan’s head of investigations really gives the film its heart. He becomes deeply involved in the psychological aspects of the case, attempting to think like the killer, even talking to a mannequin constructed from clues left behind by the perpetrator; the resemblance between the killer, the mannequin and Lundigan himself is quite noticeable. It's rather clever. Mann’s influence is evident throughout the film, but Fleischer’s direction shines through as well—an economical stylist meeting a resourceful auteur, a good combination. Robert De Grasse (The Body Snatcher/Born to Kill) is an important element, using angles and shadows when needed, creating a distinct feeling of unease. Several scenes are particularly memorable, like a spider inviting a fly to dinner, building up to a chaotic finale at an oil refinery–cum–power plant. While White Heat (also 1949) chose nighttime for its climactic moment, Follow Me Quietly opted for daylight. It's rather clever. It’s not flawless. There are some logical inconsistencies regarding the water effects used by the killer, which also leads to a lack of explanation and understanding concerning the perpetrator’s motives. Additionally, there are moments where the mannequin is shown in a rear shot using an actual actor—the reason for this remains unclear. Even the film's best scene—where Lundigan talks to the dummy in a darkened room as rain falls heavily on the windows—reveals something that doesn’t quite make sense, especially after "The Judge" is revealed. Nevertheless, it’s easy to recommend this to noir enthusiasts and fans of police procedurals; I thoroughly enjoyed it. 8/10

Source on TMDB