Absolutely the worst movie.

The film never slows down or bores, plunging from one harrowing sequence to the next.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

"The Fat Man" was a radio program that was eventually brought to the big screen. However, only two movies were made--this first one starring J. Scott Smart and another made at the end of the decade by another actor. Apparently, the radio success couldn't be translated to the silver screen.When the show begins, Jane Adams (Jayne Meadows) approached Brad Runyan ('the Fat Man') and begged him to look into the death of her boss, a dentist. The death was ruled an accident or a suicide but she knows it was murder. The trail then leads to a guy named Roy (Rock Hudson) as well as a clown and along the way, other folks meet the same fate as the dentist.The biggest reason to see the film is to see a couple actors before they were stars--Rock Hudson and Jayne Meadows. Julie London, Emmett Kelly (not surprisingly, as a clown) and John Russell also appear in the film--giving it a few more quality actors than you'd expect in such a movie. Aside from that, it was a decent enough mystery but also one that had some stupid clichés. The worst was when Jane called Runyan and said "I need to see you right away...I know who killed Dr. Bromley"....and you KNOW what's going to happen to her very, very soon!! Why didn't she just tell Runyon OVER THE PHONE who the killer was?!?! Duh!! It also was rather low energy and not exactly exciting compared to other films in the genre. Worth seeing if you love these detective films, otherwise very skippable.By the way, the film like MANY Bs was directed by William Castle-- before he became inextricably associated with horror films.

I might get into some hot water here because the value of film adaptations from popular radio serials are held high for many. I am admittedly not familiar with the radio show to which this Castle film was based. In all honesty, I am quite convinced that it played better without the visual component. There are too many flashbacks that slog and mire the plot progression. The effect is an instability of mood throughout the film. Castle's direction is plodding and does little to compensate. There are some good moments of mobile framing and blocking/staging, however, most often Castle relies on simple short pan reframes and frontality in his staging. Not only does this strategy limit auteurship but also prevents provocative psychological portrayals of the characters. This film is carried literally and figuratively on the weight of the reputation of the titular character. The fat man has his moments - corny, quaint and digressive. That being said, his dancing number should become a contemporary viral meme - hashmark Twinkle Toes. Clown of renown, Emmett Kelly makes an appearance and the climax of the film is set around the circus grounds. You might think fun times but don't forget that impressionable Kelly hobo long face.

The odd subtexts for this film are probably what has buried it. 1. It is based on a popular radio show that sold itself as "created by Dashiell Hammett." Actually the nickname "Fate Man" was that of Gutman, one of the baddies in the Maltese Falco; the character of the radio "Fat Man" was developed out of the otherwise nameless Hammett character "The Continental Op," hero of the Dain Curse and Red Harvest. But in 1951, when this film was about to be released, Hammett was getting sent to prison for thumbing his nose at the McCarthy-era 'House UnAmerican Activities Committee' witchhunters, so his name doesn't appear in the credits (at least not the copy I've seen). 2. With reference to Hammett removed, the character is redefined; while the character remains a tough private eye, he now has acquired a gourmand's taste for good cooking - an obvious reference to the popular Nero Wolfe Character - as well as a shadow of Wolfe's sidekick, Archie Goodwin. 3. This is an early film with Rock Hudson, and it is clear where he was intending to go with his career - a Montgomery Clift without the angst - but just as clearly he decided to change directions - too bad, he's actually quite good in this. 4. This is William Castle before he decided to throw himself wholeheartedly into gimmicky horror movies, and it reminds us that he could be a very capable director when he wanted to be. 5. That the a lead baddie is played by legendary clown Emmett Kelly probably doesn't mean much today, but it's certainly worth a footnote for those interested in the history of clowns. The story, dialog and acting are all solid; the camera-work, lighting and design are nothing special but certainly competent. The pacing is pretty good. The film keeps its suspense up and provides enough twists to be a real detective mystery. Overall a satisfying mystery from the era when such could still be made.

Curiosity picture mainly because it is one of Rock Hudson's earlier films. I won't bother going over the film's many faults except to note the awkward humor. For example, after the nurse was killed, I couldn't believe the joking around. Also, why was she killed in the first place? It was never explained. This bummed me out because she was very attractive even if she couldn't act. It was obvious that this supposed to the first of a series of "Fat Man" detective movies, ala the "Thin Man" movies, but fortunately we are still waiting for the second one.