It’s easy to understand how housewives might get restless sometimes. Too Late for Tears was directed by Byron Haskin and written by Roy Huggins. The movie stars Lizabeth Scott, Don DeFore, Dan Duryea, and Arthur Kennedy. Dale Butts composed the music, and William C. Mellor handled the cinematography. One evening, Alan and Jane Palmer (played by Kennedy and Scott) are driving to a party in Hollywood when someone throws a suitcase full of money into their car’s back seat. This kicks off a story involving greed, betrayal, and murder... Money can be destructive. Despite its low budget, Too Late for Tears (also known as Killer Bait) turns out to be an excellent film noir. The movie emphasizes how money is the source of all evil, with Haskin (who also directed I Walk Alone) and Huggins (who wrote I Love Trouble) putting Scott in the spotlight as a quintessential femme fatale. Jane Palmer is a clever woman; it’s fitting that Duryea's character calls her Tiger, because she knows what she wants, and now that she has the money to get it and move into a wealthier social circle, she’ll do anything to keep it. Whether through murder or using her sexuality as a weapon, Palmer remains in control—even while taking advantage of the hapless Danny. It's a compelling character, and Scott possesses all the necessary qualities (a sultry look, blonde hair, sharp features) to portray her effectively. There’s plenty more to appreciate beyond Scott’s performance. Duryea is naturally well-suited to this kind of noir role, and Kennedy as the naive husband also makes an impression. DeFore's character is written in a way that requires him to be guarded for much of the film, which initially gives the sense he's in the wrong movie. This feels awkward at first, but it ultimately works out well with the plot’s progression. Kristine Miller (from Sorry, Wrong Number) also appears as Alan Palmer's sister, Kathy. She provides a wholesome and upright presence, offering viewers someone to root for—a faint glimmer of hope in a world filled with lies and deception. Miller delivers a strong performance; she deserved a more substantial film career. While the Los Angeles locations are used effectively, particularly considering the limited budget, the movie lacks visual impact. A character like Jane Palmer, who manipulates men so skillfully, really needs some dark, suspicious places to operate out of. William Mellor (who also shot The Naked Spur) uses his photographic skills at a boating lake and adds shadows to the characters in well-lit rooms where the plot unfolds, but the atmosphere isn't tense; there’s no sense of foreboding to match Palmer’s schemes. Also, it runs about 10 to 15 minutes too long—some of the slower parts could have been trimmed because the film starts to drag in the final third as it heads toward a surprising conclusion. Still, the story has its strengths, with solid performances from the cast, making it a film noir that’s easy to recommend to fans of the genre. 7.5/10

Source on TMDB