All that remains is to prepare a final resting place. Tight Spot comes from director Phil Karlson, with a screenplay by William Bowers based on Leonard Kantor's play "Dead Pigeon." The film includes Ginger Rogers, Edward G. Robinson, Brian Keith, Lorne Green and Eve McVeagh, featuring music by George Duning and cinematography by Burnett Guffey. Sherry Conley (Rogers) is presented with an opportunity to shorten her prison sentence if she’ll agree to testify against mobster Benjamin Costain (Green). While staying in a hotel room under police protection, Sherry develops a connection with Lt. Vince Striker (Keith). As Costain's assassins begin to close in... Whether it qualifies as noir has been a topic of discussion since Columbia included it in their Film Noir Classics III Collection. The involvement of Karlson (Kansas City Confidential), Guffey (In A Lonely Place), Bowers (The Mob) and Robinson (Scarlet Street) certainly lends considerable weight to its noir credentials regarding the production team. What unfolds is more of a crime melodrama, but Tight Spot does incorporate elements associated with film noir. From Guffey’s shadowy photography and lighting, to the portrayals by Rogers and Keith, there's enough here to satisfy those who appreciate the genre. Rogers’ casting has also been subject to considerable debate, which is understandable given that a more conventional femme fatale could have easily taken on the part. Although it takes some adjustment, and that hairstyle is simply peculiar, Rogers delivers sharp-tongued dialogue with a certain flair, even adding some spark during a slow dance scene with Keith. She does solid work, perhaps a little theatrical at times, but she fits in well alongside the strong performances from Keith, Green and Robinson, elevating an otherwise ordinary story. Much of the film takes place within a single hotel room, which proves to be both beneficial and detrimental. Sometimes it works well because Karlson manages to create a sense of claustrophobia; there’s a palpable feeling that something bad is about to happen. However, at other times the movie feels overly reliant on stagecraft, diminishing some of the realism the filmmakers aim for. There's also an issue with shifts in tone as comedic elements intrude regularly, including frequent appearances by a hillbilly television program that seems only intended to irritate Keith’s increasingly anxious detective. It’s a mixed experience, and at its midpoint some viewers might question their decision to watch it. But the cast and crew ultimately redeem themselves in the second half, delivering action, unexpected turns, and a dramatic conclusion. 7/10

Source on TMDB