Chiseler's and Smouldering Redheads. Slightly Scarlet was directed by Allan Dwan and the screenplay adapted by Robert Blees from James M. Cain’s novel Love's Lovely Counterfeit. The cast includes John Payne, Rhonda Fleming, Arlene Dahl, Kent Taylor, and Ted de Corsa. A Technicolor/SuperScope production, it features a score by Louis Forbes and cinematography by John Alton. June Lyons (Fleming) works as “secretary” to Frank Jansen (Taylor), an anti-crime activist running for mayor. With Jansen’s political aspirations in mind, mob boss Solly Caspar (Corsa) seeks a way to damage his reputation. An opportunity arises through June's sister, Dorothy (Dahl), who is recently out of prison and struggles with kleptomania. Caspar assigns Ben Grace (Payne) to the task, but having Grace follow orders and placing him between two spirited sisters might have negative consequences for everyone involved. The narrative deviates from Cain’s original story; what appears to be a complicated storyline doesn't quite reach its full potential. Nevertheless, it stands as a vibrant Technicolor noir, demonstrating that this genre can flourish beyond black and white when handled skillfully by the director and cinematographer. The film unfolds with intense passions and striking visual cues, enhanced by captivating photography and an exceptionally bold production design. It incorporates psychological elements, avoiding easy resolutions regarding the characters’ fates, and in keeping with noir conventions, all of the main characters are difficult to like or possess intriguing imperfections. John Alton's contribution is essential; he brings vivid colors to the forefront while maintaining sophisticated light and shadow techniques. Dialogues occur within dimly lit spaces, where black dominates, creating a sense of foreboding, while the home shared by the two redheaded sisters showcases deliberately bright blues, reds, oranges, and greens. Costumes play an important role in conveying the film’s underlying sexuality. The women are shown in several attractive (and colorful) outfits, including wide-necked sweaters, form-fitting skirts, bullet bras, a leopard skin bikini, and sheer nightgowns. Certain artistic elements also resemble phallic symbols, serving as a reminder that sexuality is a central theme. Suggestive moments are present, often involving Dorothy, who combines kleptomania with an apparent interest in nymphomania. Details such as her stroking a pillow while her sister argues intensely with Ben, or the way she looks holding a Harpoon Spear Gun (in that leopard skin bikini), and a particularly alluring scene on a couch—with legs spread and a back scratcher used to great effect—are noteworthy. It’s quite something! It isn't without its shortcomings, though. The kleptomania/nymphomania aspects are not thoroughly developed (likely due to the time period), Corsa doesn’t entirely convince as the primary antagonist, and Forbes seems unsure of how to approach the musical score. There were also missed chances regarding romantic entanglements involving Ben, June, and Frank, and between Ben, June, and Dorothy. Despite these issues, it remains a pleasurable Technicolor noir—rich, lurid, and cleverly scandalous. 8/10

Source on TMDB