I was completely taken in by a handsome man! Scandal Sheet comes from director Phil Karlson and features a screenplay by Eugene Ling, James Pope, and Ted Sherdeman, based on Samuel Fuller’s novel The Dark Page. It stars Broderick Crawford, Donna Reed, and John Derek, with music by George Duning and cinematography by Burnett Guffey. Mark Chapman (Crawford) leads The New York Express, a newspaper that prioritizes sensational stories to boost sales. However, the reappearance of someone from his past triggers an event that places Chapman himself in the news... Let’s address this upfront: it doesn't feel like a Sam Fuller film; he likely wouldn't approve of how his novel was adapted. Still, these issues don’t prevent Scandal Sheet from being a fantastic example of film noir. There are certain noir films where the main character essentially investigates themself, and this is one of those. Through a twist of fate typical to the genre, Mark Chapman becomes the person everyone is hunting in the very headlines he creates at his newspaper! The situation is made more complex by the fact that his protégé, Steve McCleary (Derek), is the ambitious reporter assigned to the case, creating an atmosphere thick with suspense and intrigue. The film gives serious consideration to how a major city newspaper operates, showcasing its darker side while capturing the frantic pace of activity behind the scenes. Investigative journalism takes center stage, with Derek portraying McCleary with a youthful energy that suits him well. While the police procedural aspects are secondary to the newspaper’s story, both investigations are handled effectively. However, these aren't the film's strongest points; it’s the character development of Chapman and the underlying themes where Scandal Sheet truly shines. Chapman (Crawford is superb and perfectly cast) is a morally questionable figure in his profession, but he becomes a victim of circumstance. As with many noir stories, one event leads to another, and things quickly escalate out of control. Corruption gives way to paranoia and betrayals, with New York City acting as an accomplice. Burnett Guffey (known for In a Lonely Place/The Sniper) handles the cinematography, using his signature noir style to create atmospheric shots that heighten the sense of danger closing in on Chapman. Director Karlson (Kansas City Confidential/99 River Street) is also at the top of his game; from the opening credits, presented as newspaper headlines, to the detached ending, this film is well worth watching for fans of film noir. 8/10

Source on TMDB