For all the hype it got I was expecting a lot more!

Absolutely the worst movie.

Absolutely Brilliant!

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Who does not love a good suspense/mystery? I for one really enjoy a good film noir especially when the opening sequence captures an audience's attention within the first five minutes without even uttering a single word. This is a film that you cannot leave the room for even a minute because if you do, you will certainly miss a key piece of this films centerpiece, which is a map containing the location of dozens of untapped oil fields worth millions of dollars.There are plenty of evil doers trying to pull a fast one on each other in the hopes of netting themselves the one map that holds the locations of dozens of oil fields. But as tough guy detective Dan Hammer (Pat O-Brien) soon finds out while trying to protect a client of his named Hasso (Marc Krah) who happens to be a murderer himself from his other enemies one of which named Walter Gredson (Jerome Cowan) also pays Hammer to locate the map before anyone else can get their hands on it.This is a cat and mouse game that also includes a gorgeous cabaret singer named Maxine (Anne Jeffreys) who is working incognito for her so called fiance Walter Gredson, but soon falls head over heels for the smooth talking, hard swinging detective Dan Hammer. Besides the cat and mouse game I was impressed by Hammer's guard dog who always laid directly in front of Hammer's office doorway but yet the bad guys were neither intimidated by Hammer's dog, nor was Hammer ever forewarned by either a growl, bark or nary a whimper that there is trouble approaching Hammer's doorway. Some guard dog eh? He was adorable and this picture with its mystery and cinematography that reminded me of the next years more successful film (1948) Key Largo is well worth watching.I give Riff Raff seven (7) woofs-woofs, its "howling" good action and mystery to keep you entertained

On occasion I head on over to TCM to see what's on and I walk right into great film that I haven't seen before. This time, I came across Riffraff a little film noir gem that I had never even heard of. The plot of Riffraff is pretty simple. Two men get on a plane headed for Panama. One of the men has a map to some oil locations in Peru. When the plane lands one of the men is missing along with the map. All kinds of seedy characters want the map. So they all seek out the help of Dan Hammer, (could there be a more perfect name for a noir anti-hero?) the local private eye/man about town. Apparently this movie is pretty well known for its opening sequence that involves 6 minutes with dialogue but what sets this film apart is that it has some great acting and some dialogue that you just won't see in movies today. Pat O'Brien is great in lead role. He doesn't really look like the classic tough guy but his performance is definitely a highlight.Walter Slezak does a decent job trying to imitate Sydney Greenstreet and Percy Kilbride is great as the comic relief/older buddy. I was unfamiliar with Anne Jefferys who plays the femme fatale in this one but she really impressed me. My only complaint is that the missing map is hidden in a location that is painfully obvious and it requires a little bit of a suspension of disbelief in order to accept that the characters don't see the map when it is right in front of their faces. Riffraff is definitely not one of the bigger budget noir's of its time but it's a great little B movie and well worth the a watch. Unfortunately, after I watched this I did a little digging around and I couldn't find a DVD release for the movie. I found it on VHS on Amazon but I don't know a single person that still has a VCR. Hopefully someone will release this on DVD soon.

Map searching and oil, how about following through more with the significance of all this? Yes, they're looking for a map, but where exactly should they want to go?This film is a first class stinker. Pat O'Brien was never really a leading man and this film proves it. You needed a suave, debonair guy for it and O'Brien still acts like is at a pool hall in a back alley.As usual, Walter Slezak is up to no good, and Jerome Cowan is hardly the evil type, though he winds up with a knife in him, courtesy of Slezak. As for Ann Jeffreys being a femme fatale, we can forget that entirely.

One of the many felicities of Ted Tetzlaff's top-notch Riffraff, the cinematography of George Diskant can be best seen, unencumbered by dialogue, in the first few dazzling minutes. Torrential storms darken an airfield in Peru, where in the dead of night a cargo plane bearing two passengers departs for Panama; only one of them arrives. The opening previews Tetzlaff's pure-cinema approach; he lets the story unfold through images (and occasionally sounds) with a casual adroitness that remains striking more than half a century later. At the center of the story is Pat O'Brien, a Canal Zone operative-for-hire. The surviving passenger engages him for protection, but doesn't survive for long. Then an oil company hires him to find a map, supposedly with the vanished man, of unclaimed oil fields in Peru. Walter Slezak wants it, too, but through strong-arm tactics. O'Brien, with the help of his driver Percy Kilbride and nightclub singer Anne Jeffreys, sets out in pursuit of the elusive document (which we know from almost the get-go hangs pinned to a screen in his room). In retrospectives of film noir, Riffraff usually gets overlooked. While its genre is international intrigue and its touch on the light side, its conventions and, especially, its look, bring it to the fringes of the noir cycle. (And it's a better movie than two noirs released the same year which mine similar veins: Calcutta and Singapore.) Bigger stars like Humphrey Bogart and Alan Ladd monopolized this tough-guy-in-ports-of-call genre, but O'Brien acquits himself honorably. Unfortunately, he was nearing 50 at the time, and his early-middle-age looks probably weren't what post-war audiences were looking for (Bogart, however, was exactly the same age). No matter: the real heroes of Riffraff are Tetzlaff and Diskant, who collaborated to make what Judith Crist used to call a `movie movie.'