It’s stuck in a groove, and a deep one at that. Pitfall comes from director Andre De Toth and features a screenplay by Karl Kamb and William Bowers, based on a novel by Jay Dratler. The cast includes Dick Powell, Lizabeth Scott, Jane Wyatt, and Raymond Burr, with music composed by Louis Forbes and cinematography by Harry Wild. Insurance adjuster John Forbes (Powell) finds himself drawn to model Mona Stevens (Scott) while her boyfriend is incarcerated. With Private Investigator J.B. MacDonald (Burr) also intensely attracted to Mona, the situation carries serious implications for everyone involved. The unwilling fatalists! It’s not the first time I've stumbled upon a film directed by Andre De Toth and left feeling like I’ve discovered an undervalued talent. Pitfall is categorized as film noir, but it actually goes against many of the conventions we associate with that genre. Mona Stevens embodies aspects of a femme fatale, but without malicious intent; the key role of fatal character falls to John Forbes, who's weary of his predictable life and becomes our homme fatale. Again, this isn’t driven by malice or scheming, though it does have serious consequences as is typical of noir films. What constitutes a dream? – The mind functions like a camera. As these two central characters navigate their confused and passionate affair, the people affected by their actions become significant in resolving the story. MacDonald is a brute (Burr playing to his strengths) and unrealistically foolish, but his constant threat provides a classic noir characterization. Mona's boyfriend remains imprisoned, learning of her infidelity and counting down the hours until his release. Meanwhile, back at the Forbes home are John’s devoted wife (Wyatt in an energetic role) and son (Jimmy Hunt), innocent figures whose suffering we anticipate as a result of others’ actions. The dialogue is frequently sharp, witty, and fast-paced; you can tell Bowers (of Criss Cross/Split Second fame) was really engaged when writing it. The photography is quite good too, with Wild (from Cornered/They Won't Believe Me) using shadows and light effectively. I do wish someone like Krasker or Musuraca had been on camera duty, as this film would have benefited from some striking chiaroscuro effects. Sadly, Byron Barr’s portrayal of the enraged convict isn’t quite menacing enough; a McGraw, Brand, or Brodie would have been better suited for the part. Regarding the ending? Well, the filmmakers manage to have it both ways. Having teased the Hays Code with cleverness, the film leaves things unresolved—drawing us viewers in, and it works well. With strong performances from the main actors, sharp writing by Bowers, and skillful direction by De Toth, this may not be a hidden gem, but I certainly recommend it to fans of noir. 7.5/10

Source on TMDB