Illegal

This Could Only be Called Film-Noir in the Most Liberal of Definition, Despite, Once Again, a DVD Package that Claims it As Such. It has that 1950's Television Lighting where Everything is Glowing and Bright and that Decades Safe Presentation and Production that Screams "Assembly Line" in Every Scene. But it is a Good Courtroom Melodrama with a Strong Performance by Robinson and a Supporting Cast Playing Some Interesting, if Standard, Characters. Albert Dekker Seems to have Wandered In from Kiss Me Deadly (1955, a true Noir), Nina Foch is OK if Bland, and Jan Merlin as a Pistol Yielding Gunsel Stands Out. This is the Third Version of the Story and is Worth a Watch for Edward G. and for a Couple of Powerfully Violent Scenes, the first Murder, and a Bedroom Brawl Between Foch and Hugh Marlowe. The Rest is Pedestrian but Tolerable and Jayne Mansfield Makes Her Debut with a Scene or Two that Registers. Overall, Not Much and it has the Stiffness of a Retread, but there is Talent at Work Here with a Max Steiner Score and Some Salty Dialog, but the Film Seems Outdated and Comes Off as a Moderate Revisitation.

I am rating this film "8" because of Edward G. Robinson. He personally deserves a "10" on a scale of 10. I have seen this film several times and have yet to notice any flaws in Robinson's performance. So, I believe it is literally flawless. Two of the best actors around shine along with Robinson. Nina Foch was a highly skilled hard-drama actress, and Hugh Marlowe was generally above-average in every project he appeared in. A very heavy crime/court drama, maybe even a little too heavy-handed at times, "Illegal" features some outrageous legal maneuvers by Robinson's character that you don't want to miss. And you can't get a more forceful crook on film than Albert Dekker. Once again we find that if someone goes to work for Dekker's character in a film, they are going to get nothing but trouble. Dekker's overpowering acting style and sheer presence has impact as always. Watch this bravura film performance by Robinson. You will be beyond impressed by his skill and perfection.

source: Illegal

Not particularly noirish, despite the classic opening and some great locations shots, but still a splendid thriller. Edward G Robinson seems to be playing a really worthy social figure at first and I groaned inwardly but he soon shows his real colours. Indeed by the end of this fast moving tale not many of the characters are looking too good with just a few too many, playing for the other side. There are real surprises here, some very amusing moments and with the ruthlessness of the Edward G character to the fore a most cynical portrait of the legal system. Also notable for a first, if restrained, performance from Jayne Mansfield. Great stuff.

This innocuous black & white 1955 juristic crime melodrama is more entertaining than realistic. Edward G. Robinson plays a district attorney with political aspirations who sends the wrong man to the electric chair and never recovers from the experience. Clearly, the message here is that the death penalty is flawed. "Illegal" is the second remake of "The Mouthpiece" (1932) with Warren William originating the role of the aggressive district attorney that Robinson would play. The first remake was "The Man Who Talked Too Much" (1940) with George Brent and Brenda Marshall. Our ambitious protagonist, Victor Scott (Edward G. Robinson of "Little Caesar") turns into a lush and then recovers and goes to work for a crime syndicate boss. As it turns out, someone is acting as a pipeline out of the District Attorney's office, and D.A. Ralph Ford (Edward Platt of "Rebel Without a Cause") suspects that the guilty party may be none other than Ellen Miles (Nina Foch of "Prison Ship"), a woman who works in the office. It doesn't help matters that Ellen shot and killed her husband Ray Borden (Hugh Marlowe of "Birdman of Alcatraz") and accuses him of leaking information. Naturally, Ford believes that she is defaming the reputation of her murdered husband to keep herself from frying in the chair. Victor Scott (Edward G. Robinson of "Little Caesar") decides to defend Ellen because he put her through school and got her a job in the D.A.'s office. Scott is as shrewd as they come and doesn't mind stooping to pull a trick or two to keep his clients out of stir. The best scene involves a poisoning case that gets thrown out because Scott gulps some of the poison and survives. Of course, in a real situation, this desperate bid for victory would be challenged by somebody, but remember this is a movie. Our hero fends off too many questions and goes into hiding where a nurse and doctor are prepared to administer an antidote. Another good has Robinson confronting his successor in the D.A.'s Office and pointing out that every idea that Ford has is an idea that Scott has already had. Albert Dekker is satisfactory as a mobster chieftain and Jayne Mansfield makes her cinematic debut as one of the mobster's gals who answers the phone for him. Jan Merlin is terrific as a skull-faced gunsel who knocks off people for Dekker. The W.R. Burnett & James Webb screenplay contains several memorable lines of dialogue. "Desert Fury" director Lewis Allen keeps the action moving along rather nicely despite its formulaic plotting. "Waltons'" grandmother Ellen Corby plays Scott's secretary. Oh, yes, the poor schmuck who burns in the chair is none other than Deforest Kelly.

Screen legend Edward G Robinson is on top form in this low-budget crime drama about a highly successful L.A. District Attorney whose life goes into a downward spiral that continues relentlessly until he gets an opportunity to redeem himself. Robinson's ability to convey toughness and emotions with equal ease is remarkable and one of the reasons why his character in this movie becomes more sympathetic than he might otherwise have been. Victor Scott (Edward G Robinson) is a politically ambitious prosecutor whose regular successes in court have earned him a great deal of respect. The attention he pays to the selection of jurors and the skill with which he delivers his closing speeches, consistently produce the guilty verdicts he seeks and then celebrates with his legal assistant Ellen (Nina Foch) and his Chief Investigator Ray Borden (Hugh Marlowe). One of these successes turns sour after evidence of the convicted man's innocence suddenly emerges and Victor's unable to intervene in time to prevent the execution from going ahead. Horrified, ashamed and consumed with guilt about his role in this spectacular miscarriage of justice, Victor resigns from his job, starts drinking heavily and soon finds himself behind bars accused of drunkenness and assault. Following his release, he defends one of the men who was incarcerated with him and stands accused of manslaughter. After winning this case, he then embarks on a new career as a defence attorney and although he prospers in this endeavour, his success is achieved through being unscrupulous and using some outrageous courtroom stunts. Ellen is the daughter of Victor's mentor who had passed away some years earlier. Since that time, Victor had assumed the role of her guardian and adviser but had also been determined that that their deep affection for each other should never grow into anything other than a father/daughter type relationship. In the circumstances, Ellen, with Victor's encouragement, decides to marry Ray. Victor's work brings him into contact with local crime boss Frank Garland (Albert Dekker) whose expensive apartment is adorned by his high-value art collection and his sultry blonde mistress, Angel O'Hara (Jayne Mansfield). Since his appointment, the new District Attorney, Ralph Ford (Edward Platt) had been frustrated in his efforts to bring any criminal charges against Garland and becomes convinced that this is because someone in his office is regularly passing information on to the mobster. After Ellen shoots Ray in their apartment, Ford concludes that because of her relationship with Victor, Ellen must've been "the leak" and that she killed Ray because he'd discovered what she was doing. When Ellen's charged with first-degree murder, Victor naturally steps in to defend her in what turns out to be a very dramatic trial. Remarkably, "Illegal" was the third movie adaptation of Frank J Collins' 1929 play "The Mouthpiece" and its lively pace, sharply-written screenplay and moments of off-the-cuff humour, add enormously to the enjoyment of watching the action unfold. A number of good performances ensure that the movie remains entertaining throughout but it's Edward G Robinson's contribution that ultimately proves to be the most critical factor in the movie's success.

ILLEGAL - 1955 Illegal is the second remake of the 1932 film, THE MOUTHPIECE. Here, Warner's lets W.R. Burnett (The Asphalt Jungle)punch up the story and move it up to the 50's. Edward G. Robinson plays a slick D.A. who wins far more cases than he loses. He wins a big one and decides it is time to run for higher office. This idea goes south when the man he sent to the chair, turns out to be innocent. Robinson resigns and takes to the bottle in a big way. One day, after spending a night in the drunk tank, Robinson helps a man, Jay Adler, beat a murder beef. He decides to dry out and open up a civil practice. He is soon in demand with all the wrong people. Mobster, Albert Dekker hires him to get various mob types off. Nina Foch, a friend from his D.A. days is not amused with Robinson's working for the "dark side". The new D.A. Edward Platt, is sure that Robinson must have a source inside the D.A.s office. Platt is sure that the source is Miss Foch. Actually, it is Foch's husband, Hugh Marlowe. Marlowe got in deep with the mob over a large gambling debt. He is paying the debt off by feeding Dekker info on cases. This arrangement soon ends when wife Foch learns the truth. She ends up shooting hubby Marlowe when he tries to silence her. D.A. Platt, believes that Foch had murdered Marlowe to stop "him" from informing on Foch. She is charged with murder. Robinson quickly steps up and takes her case. Needless to say no one believes a word that Foch says. Robinson digs around and comes up with a witness to Dekker and Marlowe being in cahoots. Dekker is not the least bit amused with this, and sends a hit-man to deep six Robinson. Robinson survives the attack and presents his witness, Jayne Mansfield. Mansfield coughs up more than enough evidence to get Foch off and mobster Dekker in deep trouble. A quite watchable film noir with Robinson as usual, giving a reliable performance. Foch, Marlowe and Dekker are also good. The hourglass figured Mansfield, in her first billed role, seems to spend all her limited screen time leaning her upper-works into the camera. The director here, Lewis Allen is in good form as well. His other film noir include, SUDDENLY, DESERT FURY, A BULLET FOR JOEY, APPOINTMENT WITH DANGER and CHICAGO DEADLINE. The sharp looking film was shot by veteran cinematographer, Pev Marley. The two time, Oscar nominated Marley's work, includes, THE TWO MRS. CARROLLS, LIFE WITH FATHER, PRIDE OF THE MARINES, DRUMBEAT and KISS TOMORROW GOODBYE.

Due to his brush with HUAC, Edward G. Robinson's career suffered throughout the 1950s; I hadn't watched that much of his work from this period myself – but have now managed to catch two (coincidentally, both semi-noirs made for the same director) in one day. Though actually the second one, this was the superior effort: in fact, I found it to be quite an underrated genre outing – whose courtroom milieu supplies an added treat; for the record, it was the third screen version of a popular play of the 1920s (the others were THE MOUTHPIECE [1932], the best-regarded one, and THE MAN WHO TALKED TOO MUCH [1940]). Robinson is perfectly in his element here as a crusading D.A. who hits the skids after he sends an innocent man (STAR TREK's DeForrest Kelley!) to the electric chair – trying to pick up the pieces as a common civil lawyer, he falls in with a powerful gangster but is ultimately redeemed (in both senses of the word). At this point, the actor must have relished such a meaty part – particularly one that so vividly recalled some of his earlier vintage work (but most of all BULLETS OR BALLOTS [1936], a Robinson vehicle I watched for the first time only recently and greatly enjoyed, and which also sees him playing on either side of the law). The play was here adapted for the screen by two notable scriptwriters, W.R. Burnett (author of LITTLE CAESAR [1930], which had made the star's name in the first place) and James R. Webb. The supporting cast is also well chosen: Nina Foch as Robinson's diligent assistant and surrogate daughter, who stays on with the D.A.'s office once the hero is disgraced; Hugh Marlowe as another Robinson aide who loves and subsequently marries Foch; Ellen Corby, one more member of Robinson's staff but who devotedly sticks with her boss; Albert Dekker as the gangster figure; and a debuting Jayne Mansfield as Dekker's 'talented' moll (her role reminded me of Marilyn Monroe's celebrated bit in THE ASPHALT JUNGLE [1950], coincidentally drawn from another popular W.R. Burnett novel). Eventually, the mole in the D.A.'s office – suspected to be Foch due to her ties with Robinson – is discovered to be Marlowe who, when confronted by Foch, she ends up killing him in self-defense; Robinson defies his boss by taking up her case (protecting himself by secreting evidence that would point the finger at Dekker in the event that something happens to him). Though the film is an atypical noir and contains just one action sequence, Robinson's unconventional courtroom tactics are at least as entertaining and arresting: knocking out a burly witness to a brawl so as to prove his unreliability; drinking a dose of slow-acting poison himself in order to smash the new D.A.'s case against his client (an associate of Dekker's); at the end turning up in court mortally wounded to acquit Foch. By the way, a handful of paintings from Robinson's personal renowned art collection are passed off as Dekker's in the film! Warners' exemplary DVD – issued as a double-feature, as part of their "Film Noir Collection Vol. 4", with Don Siegel's even better THE BIG STEAL (1949) featuring the great team of Robert Mitchum and Jane Greer – contains the trailer, an Audio Commentary (an extra I used to lap up in the past but haven't listened to one in a long time – chiefly due to time constraints and a huge backlog of films!) as well as two featurettes. One discusses the film proper (all-too briefly) and the other a vintage TV piece in black-and-white, hosted by the ubiquitous Gig Young, about courtroomers produced by Warners (with clips from the Oscar-winning THE LIFE OF EMILE ZOLA [1937] and two 'brand-new' efforts – Otto Preminger's THE COURT-MARTIAL OF BILLY MITCHELL [1955], which I haven't watched, and, of course, ILLEGAL itself with even a brief contribution from Edward G. Robinson).

This movie reminded me of how great an actor Edward G. Robinson was. His performance is absolutely brilliant as the tough crime-fighting D.A. who sends an innocent man to the electric chair, then drowns his sorrows in the bottle and morphs into an unscrupulous attorney for the Mob. There is some terrific dialog, like when he admonishes the new D.A. with: "When you sit in that chair and have a thought, just remember, I sat there too and had it before you." Although the remainder of the cast deliver good performances, the movie is basically a showcase of Robinson's incredible acting talent. He dominates every scene he is in -- except where the gorgeous Jayne Mansfield is present, who plays the crime boss's classy mistress. Mansfield is poetry-in-motion, a screen goddess, and much better than Marilyn Monroe ever was. This is her film debut and she only appears in a few short scenes - which she totally steals - but is absolutely stunning eye candy. It's worth noting that although Mansfield is portrayed as a dumb blonde, in real life she had an IQ of 163, spoke 5 languages, and was an accomplished pianist - a talent she splendidly shows off in the movie by playing and singing for the crime boss. The direction and cinematography are good. There are some nice plot twists and Robinson finally redeems his character in an unexpected ending. This movie is classic noir and not to be missed.

This remake of an earlier movie packs a punch. The opening scene is marvelously lurid. It's a book jacket from this genre come to life: An attractive blonde is making up in her bathroom. Suddenly someone enters her apartment, shoots her. She screams; it's over for her. This is NOT Jayne Mansfield, though she makes her movie debut here. She's good, too. (She was generally good but she's more restrained than the out-sized characterizations she took on later.) Edward G. Robinson plays an ambitious prosecuting attorney who nabs the killer in a good court room scene. But IS he the killer? I'm giving nothing beyond the first ten or 15 fifteen minutes away to say that he's not. The sequence in which Robinson desperately tries to get through to the prison where the guy is about to be executed is an eloquent plea against capital punishment. Nina Foch is excellent as the woman who views Robinson as a father figure. She isn't given a whole lot to do but she has a very strong presence. There's a lot of Joan Fontaine in her appearance and delivery. And she presages the young, glamorous Kathleen Turner. The supporting cast players are well cast too. Ellen Corby (yes, of "The Waltons") stands out among them. This is not a great movie. Maybe that's because it's a reasonably faithful remake of a movie I've already seen. It's a thriller, though; so be sure to give it a try.