One of my all time favorites.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Story: It's very simple but honestly that is fine.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

The body of a private investigator, who also dabbled in a bit of blackmail, is literally dumped on the police department's doorstep. The case becomes politically charged when the prime suspect is determined to be one of the mayoral candidate's daughter. And to complicate things further, one of the city's newspapers may also be involved. Lt Sam Carson (William Gargan) has to get to the bottom of things. Problem is, he's fallen for his #1 suspect.I really enjoyed this little movie much more than I could have imagined. Behind Green Lights will never be confused with a noir heavyweight like Double Indemnity, but it's not unentertaining in its own modest way. The story is compelling enough and director Otto Brower keeps things moving throughout the film's (too) brief 64 minute runtime. Budgetary restrictions can be seen in the limited number of sets (there are really only two or three that matter), yet the film never feels confined or stagey as I've seen before with similar films. Again, a tribute to Director Brower. The film has the benefit of a nice cast. Gargan might not be the most engaging lead, but he's solid and gives a real workmanlike performance. His character falling for the main female character, Janet Bradley (Carole Landis), is certainly believable. Speaking of Landis, she also gives a nice performance. I'm not overly familiar with Ms Landis, but what a tragic figure. Supporting players, including Richard Crane of Rocky Jones "fame", Mary Anderson, and a very young John Ireland, are all strong. My only real complaint is with the doctor character. I'm not sure how this man, who could so easily be tempted to basically break the law, kept his job as a police medical examiner. It's just doesn't make sense. So, to summarize my thoughts, Behind Green Lights is an engaging little film that's aided tremendously by a nice cast.

Other than guessing the murderer the minute I saw him, I thought "Behind Green Lights" from 1946 was pretty good.The first thing we see is a young woman (Carole Landis) entering an apartment and telling the man inside that she hasn't raised enough money. Then she pulls a gun on him.Later, a body is dumped in front of a police precinct. It turns out to be that of a detective turned blackmailer, and we learn that none other than a mayoral candidate's daughter had visited him before he died. She is brought in for questioning.The editor of a newspaper doesn't want that candidate to win and pressures Lt. Carson (Gargan) to formally arrest the mayor's daughter, at least until after the election. Not happening. At first it appears that the blackmailer was shot to death; he was shot, but the cause of death was poisoning. The coroner is actually taking orders from the editor, and he's told to get the body out of the police station before anyone realizes that the man was poisoned. Some nice bits concerning the body, an escaped prisoner, and a closet. Okay film, with nice performances by Gargan, Richard Crane, John Ireland, Mary Anderson, and Charles Russell. This is down a few notches for the beautiful Landis, whose career sadly declined after Darryl Zanuck dumped her. She committed suicide two years later at the age of 29. A very sad life.I think it's worth seeing even if it is an uneven mix of noir and comedy - I liked some of the characters.

Plot—a shady character turns up dead in front of a police station. Looks like the cops have their man, oops, woman, but then the corpse disappears and fingers begin to point in different directions.Okay time-passer from TCF. The format suggests a transition period between the comedic who-dun-its of the 1930's and the noirish police procedures of the late 40's. The two blend awkwardly here with an obstreperous group of crime reporters and antic characters providing the humor, and a no-nonsense police Lt. (Gargan) the procedure. Unfortunately, the moods contrast rather than complement, a tricky combo, at best. As other reviewers point out, the movie's standout aspect is influence peddling among city officials and police that suggests deals can be made without much regard for guilt or innocence. Perhaps the humorous side was intended to soften this harder message.Rather disturbing to see promising actress Landis just two years before her tragic suicide, one of Hollywood's more lamentable. Too bad her sparkling personality remains subdued in a rather dour role. Still, she remains a distinctive presence and not just for us guys. Unfortunately, tough guy Ireland is wasted in a supporting role. But with his distinctive looks, he's clearly on his way up.Anyway, the mystery's surprise solution is told in multiple flashbacks, so be prepared for the cut-aways. All in all, the movie's a journeyman piece of work, perhaps reflecting a coming change in post-war mood.(In passing—Like reviewer arfdawg, I was puzzled by the clumsily edited opening scene of Janet {Landis} holding a gun on Bard, which doesn't appear to fit with what follows. However, the scene is picked up later in flashback. My guess is the idea was meant to be a teaser. Unfortunately, it looks like dull scissors were used to cut it.)

This major studio "B" is available on a Grapevine DVD coupled with Poverty Row's Lady in the Death House (1944) which allows us a rare opportunity to compare major to minor "B" styles. Well, as you might expect, except in one respect, the 20th Century Fox product has it all over the Gower Street offering, despite the fact that Lady in the Death House has a decent plot, a very capable cast and skillful direction. But Lady does have one over-riding asset: In my mind I can picture Poverty Row's heroine Jean Parker very accurately indeed. Who could forget Parker's walk to the death chamber as the camera tracks with her for her 49 steps? However, where the Fox picture excels is in the spread and variety of its sets, the enormous roll-up of players (led by William Gargan, with John Ireland in a small role, plus Roy Roberts, Mabel Paige, Richard Crane, Mary Anderson) and the nimble, fast- paced direction (Otto Brower). But I can't recall the Fox movie's number one star, Carole Landis, at all. Even looking at her photo doesn't stir my memory one bit. On the other hand, Don Beddoe I remember particularly well even though he's not listed (or pictured) on the DVD cover at all, despite the fact that – with his usual expertise – he plays a major part in the action.