Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

The movie is surprisingly subdued in its pacing, its characterizations, and its go-for-broke sensibilities.

Blistering performances.

While this film has a few minor issues, it's a generally well made film noir picture and provides a wonderful opportunity to see Hugh Beaumont (the father on "Leave it to Beaver") playing a cold-blooded monster!When the film begins, Steve Clark (Beaumont) blows into a new town and gets a job as a cab driver. In one of his first fares, he has an annoying drunk sexual harasser who is out on a date with a nice girl who is refusing his advances. Julie (Frances Rafferty) is thrilled with the cab driver intervenes and he looks like a really nice guy. And, through much of the film Steve appears to be a real sweetheart. However, underneath this veneer is a real sociopath and by the time the film's over, he's terrorized sweet Julie as well as killed a couple folks...and is about to kill more!!The best thing about the film is Beaumont's performance. He is creepy and very convincing. Unfortunately, Rafferty is not very good and much of it could be the writing...as her character is too weak and a bit stupid. Plus, she believes that because she's married Steve that she cannot legally testify against him...which is NOT the case. She could not be COMPELLED to testify against him if she didn't want to...and there is also question as to whether or not they are actually married. Still, a very enjoyable film...one that I would strongly recommend to noir fans.

It's an inexpensive thriller set in Los Angeles. They must have ground them out by the droves. Yet it's not bad. I mean the script isn't bad. Poor Frances Rafferty, looking cuddly, lives with her cross and self-absorbed aunt Cora, Cecil Weston, and the script established their relational dynamics in a few minutes of introductory dialog. The crotchety old aunt is one of those people who are particularly adept at bringing pain to others, but this is no place to discuss my marriage.Ida Moore overacts as if in a vaudeville sketch but it's barely noticeable because everyone overacts except Hugh Beaumont, a taxi driver newly come to town, who hardly acts at all. Rafferty gives the closest thing to a polished performance, not just because of her physical appeal. The script does have its minor weaknesses. Rafferty and Beaumont meet by accident, have a cup of coffee, and fall in love at once, to the point at which they -- well -- they KISS at her front door! An attractive woman falls for a guy in half an hour. It happens to me all the time but to see it happen to somebody as bland as Hugh Beaumont requires not such a suspension of disbelief; it calls for wrenching off the head of disbelief and a violation of its neck cavity.At any rate, Beaumont and Rafferty are soon married. His courting has been suave. "I'm going places in the world, Julie. Want to come along?" Between Beaumont's carrot and Aunt Cora's stick, how could she resist? Beaumont is not the cheerful fellow he first appears. He is, in fact, a slimy worm. And when he moves in with Rafferty and Cecil Weston, he promptly poisons the latter. It's understandable. She has a big house.Beaumont tips Rafferty off and explains his tactic in a perfectly reasonable way. After all, Weston is old and unhappy, so what's the big deal? And Rafferty, now his wife, can't testify against him. Further, it was she who served Aunt Cora the poisoned tea. And on top of all that, Beaumont has two hundred large stuck away in a box that he can't get at because he'd have to explain where the loot came from. When she balks, he grabs her and growls threats. Beaumont is brusque when he needs to be. "Beat it. Get out of here and keep your trap shut." He's much more convincing as a maniac than as an affable taxi driver.It all seems to work out for Beaumont. Aunt Cora kicks it apace, Beaumont retrieves the loot from his previous job, stashes it in an old trunk in the attic and -- voila! The old biddy had been hiding two hundred thousand dollars all these years! Of course there will be a few months before Beaumont can lay his excremental hands on that money because the will must be probated, in case someone else has a claim against the money. Rafferty's emotions are in turmoil but she can't see a way out of her predicament.The waiting period is disturbed when one of Beaumont's old gang shows up, having tracked him down after being double-crossed during that previous job. Beaumont confronts him with a revolver, "my little friend here" while Rafferty stands aghast. The confrontation turns out to have been a mistake on the part of Beaumont's old pal, R. I. P. Beaumont forces her to help him stuff the body in the trunk of her car then orders her to drive to a drop spot. The car stalls and the police intrude. When a car has a dead body in the trunk, it is always stopped by the police for some reason or other.Actually, the tension builds quite a bit during the last half of the film until the implausible climax. Rafferty's character has been swept up in events and she's more or less helpless, and her new boyfriend, a lawyer, is a dull good guy, but Beaumont's character is given a bit of depth as the story unfolds. All things considered, it's not badly done.

The story is told in flashback as Julie Clark (Frances Rafferty) is sentenced to 10 years and a reporter quips "you never know who will come along on the noon bus"!!! Like Sam Clark - he got off the noon bus eager to get a safety deposit box to stash $200,000, courtesy of a bank robbery and a too trusting partner. While driving a taxi he rescues Julie from a drunken date and she is exactly what he has ordered!! An unhappy waitress who lives with her dominating Aunt Cora, you know, the type who conveniently have a bad turn whenever they don't get their way!! Steve has ingratiated himself into their home, overhears words, enough for him to realise that with the aunt out of the way Julie would come into a nice inheritance.Hugh Beaumont, even though he ended up as father to America's favourite kid brother in "Leave It To Beaver", had a varied career in the 1940s playing everything from Michael Shayne in a series of P.R.C. films and more interestingly a couple of oddball characters - a murderous husband in "The Lady Confesses", a money mad psycho in "Money Mad" and "Apology For Murder" a sort of "Double Indemnity" on the cheap. The characters worked so well because he looked like such a regular good natured guy but behind a door or in the shadows - watch out!!!Steve and Julie marry but through circumstances (contrived by Steve involving a non existent first wife) find themselves back at Aunt Cora's again: Julie acting fed up and irritated, Steve like an ideal husband but behind that façade making sure Aunt Cora will not have a long life. He plans to plant the $200,000 in the house and when the Aunt does die (from poison he is putting in her coffee), surprise! surprise! it will soon be known that the eccentric Cora didn't believe in banks!! Julie has already discovered Steve is a homicidal maniac (that's what he is called on the blurb on the back of the DVD!!) but is forced to go along with his murderous scheme as he is also psychotically fixated on her as well ("no one can take anything away from me - including you!!"). That is because lawyer Donald whom Julie has gone to regarding probate etc, can tell by her jittery mannerisms that something is not quite right with her and he decides to do some investigating. Meanwhile Steve's disgruntled partner comes looking for him and the money - the radio is turned up loud, then boom!!!Did the writers forget the beginning by the time they got to the end or did that realise that it would be hard for an attorney to convince a jury that preppy looking Frances Rafferty could actually be a willing participant in the preceding mayhem!! Rafferty, who looked like she would really have fitted into a 1950s family TV show ("Father Knows Best", "The Donna Reed Show") was contracted to MGM in the 1940s but didn't rise above the bland ingénue - "Money Madness" may have given her her meatiest role.

Constantly underrated Hugh Beaumont puts in a memorable performance as a chilling sociopathic murderer. Soon after he arrives in a small town carrying the proceeds of a recent bank robbery, he finds a vulnerable young woman (Frances Rafferty) and charms her into marriage. He quickly embarks on his nefarious schemes to better himself by arranging for the girl to inherit her Aunt's house and estate by killing the old lady. He continues to terrify and control the girl until she is entirely caught up in his web of murder and deceit and her own character becomes irredeemably compromised as an accessory to his crimes. Beaumont is outstanding and truly menacing as the killer, but he was equally adept at playing the playful and flirtatious, wisecracking hero as in his Mike Shayne films. There is a very natural delivery to his acting which always makes him believable...he seems to embody his roles so effortlessly that it hardly seems he is acting. This is a rare talent that few performers in films have had. For some reason, he never got to be A-list but his talent certainly deserved more recognition. Recommended.