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  • Forgotten Noir, Vol. 6 (I'll Get You / Fingerprints Don't Lie)
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Forgotten Noir, Vol. 6 (I'll Get You / Fingerprints Don't Lie)

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Product Details

  • Actors: George Raft, Sally Gray, Frederick Piper, Reginald Tate, Clifford Evans
  • Directors: Peter Graham Scott, Sam Newfield, Seymour Friedman
  • Writers: John Baines, Nicholas Phipps, Orville H. Hampton, Rupert Hughes
  • Producers: Ronald Kinnoch
  • Format: Multiple Formats, Black & White, Dolby, Full Screen, NTSC
  • Language: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Vci Video
  • DVD Release Date: April 24, 2007
  • Run Time: 135 minutes
  • Average Customer Review: 3.3 out of 5 stars  See all reviews (3 customer reviews)
  • Shipping: Currently, item can be shipped only within the U.S. and to APO/FPO addresses. For APO/FPO shipments, please check with the manufacturer regarding warranty and support issues.
  • ASIN: B000NJLM1O
  • Amazon Best Sellers Rank: #243,372 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Forgotten Noir, Vol. 6 (I'll Get You / Fingerprints Don't Lie)" on IMDb

Special Features


Editorial Reviews

I'll Get You (1952) - An F.B.I. agent illegally enters England following the disappearance of several noted atomic scientists. Fingerprints Don't Lie (1951) - The identity of the murderer of a town\'s mayor is decided by fingerprints on the weapon.case closed. But is it?

Customer Reviews

3.3 out of 5 stars
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Most Helpful Customer Reviews

VCI Entertainment and Kit Parker Films presents "FORGOTTEN NOIR 6" ... I'll Get You (1952) & Fingerprints Don't Lie (1951) --- (Dolby digitally remastered) --- Film noir has sources not only in cinema but other artistic mediums as well...the low-key lighting schemes commonly linked with the classic mode are in the tradition of chiaroscuro and tenebrism, techniques using high contrasts of light and dark developed by 15th- and 16th-century painters associated with Mannerism and the Baroque...film noir's aesthetics are deeply influenced by German Expressionism, a cinematic movement of the 1910s and 1920s closely related to contemporaneous developments in theater, photography, painting, scultpture, and architecture...opportunities offered by the booming Hollywood film industry and, later, the threat of growing Nazi power led to the emigration of many important film artists working in Germany who had either been directly involved in the Expressionist movement or studied with its practitioners...Directors such as Fritz Lang, Robert Siodmak, and Michael Curtiz brought dramatic lighting techniques and a psychologically expressive approach to mise-en-scène with them to Hollywood, where they would make some of the most famous of classic noirs. Lang's 1931 masterwork, the German M, is among the first major crime films of the sound era to join a characteristically noirish visual style with a noir-type plot, one in which the protagonist is a criminal (as are his most successful pursuers). M was also the occasion for the first star performance by Peter Lorre, who would go on to act in several formative American noirs of the classic era ... featuring top performances from the '40s and '50s with outstanding drama and screenplays, along with a wonderful cast and supporting actors to bring it all together ...Read more ›
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I'll Get You:
With I'll Get You, a low-budget British spy thriller made in 1952, George Raft has tired eyes, a middle-aged face, and he looks so stolid you'd think he'd need a double just to walk briskly down the street. As always, his flat, tough line delivery makes "I love you" come across with the same lack of emotion as "Drop that gat." So what made him a big-time star? I think at least on one level it was because he seemed without pretension...he seemed exactly what he appeared to be, not an "actor" but a guy making good at a job. It didn't hurt that he was lucky enough to land some first-rate movies in the late Thirties and early Forties. The image and reputation from those years stayed with him through the decline that set in during the middle Forties and just kept accelerating. He was stuck making some awful pictures when producers thought he could still sell enough tickets to help a quickie, low-budget movie turn a profit.

I like George Raft. For some reason I enjoy him especially in many of these B movies from the late Forties and early Fifties. You have to turn off your film appreciation switch and just sit back with your remote control at hand. Some of my favorites that leave critics aghast include Background to Danger, Johnny Angel, Mr Ace, Nocturne,
...Read more ›
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I'LL GET YOU (Seymour Friedman/Peter Graham Scott 1952)
This is the second of three productions from the poverty-row British studio Lippert starring George Raft, after LOAN SHARK released earlier in the same year. Raft, now in his late 50s, had not had much success going it on his own outside of the major studios in the previous decade, and so ended up with Lippert, doing this ultra-cheapie in England in a few weeks. He plays American Steve Rossi, an engineer in England to meet with the mysterious "Michael Grand" (Clifford Evans) who is apparently to give him a job. We are told in an opening narration that several distinguished scientists working in the aerospace and other "sensitive" industries have recently disappeared; apparently abducted, or defecting as spies. Rossi himself disappears of his own accord soon after landing, and makes his way to various locations trying to find Grand. He soon encounters a woman (Sally Gray) claiming to be Grand's secretary Joan Miller - but there's something fishy going on, and before long he's dealing with the British secret service and police.

You won't have to be a genius to figure out pretty quickly that Rossi himself is a lawman, specifically FBI, tasked with finding Mr. Grand, who is apparently behind the various disappearances. It's never made very clear in the film whether the scientists are actually defecting, whether it's all about money, or what - just that it's Rossi's job to find Grand. An attempt at establishin a romance between him and Joan just isn't very interesting - Raft looks positively bored throughout - and the action sequences (a couple of fistfights) are ludicrously choreographed, and the resolution pretty obvious.
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