Yawn. Poorly Filmed Snooze Fest.

Very Cool!!!

Absolutely Fantastic

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

Tight little low budget thriller from talented journeyman director Phil Karlson. Ginger Rogers plays a gangsters moll who's in protective custody until she can testify in court. Brian Keith plays the cop assigned to protect her and the great Edward G. Robinson is along for the ride as well. This one isn't a film noir classic, but it's solid entertainment that's a great showcase for Rogers, who would soon after stop appearing in films all that much, likely due to sexist Hollywood not wanting 40something actresses in leading roles.

TIGHT SPOT features an A-list cast, however none were A-list at the time, with Brian Keith about to rise to solid star status while Ginger Rogers and Edward G. Robinson were on the downhill side of heights that Keith would never approach. Which is not to say that anyone's abilities had seriously flagged. TIGHT SPOT remains a B-picture, but the performances elevate it to a strong 'B', and that's a lot better than some dreary high budget production. Is it a noir? Columbia likes to think so, and the Brian Keith character makes this a reasonable claim, but the movie centers around Ginger Rogers' Sheri Conley, and Sheri isn't a femme fatale, not by a long shot.Ginger's performance is rather controversial. Sheri is an over-the-hill model who appears to have taken as her own role models the kinds of brassy dames common in the films of her adolescence and played by actresses such as Joan Blondell and Glenda Farrell and...well, Ginger Rogers. It would be a natural thing for someone like Sheri to do, and it must be said that director Phil Karlson must have agreed with Rogers in this interpretation even if it didn't exactly fit into the typical noir milieu (near the end of her film career, Rogers certainly didn't have the power to overrule her directors in such matters of interpretation). She'd played a character in a similar situation in a polar opposite fashion in STORM WARNING only a few years earlier, tight and withdrawn rather than outgoing and wordy as here. I'll go so far as to say that you'll like TIGHT SPOT to the degree that you like Ginger's interpretation of her role. In any event, she provides energy to a film otherwise lacking in it.Edward G. Robinson was one of the finest actors that the screen has ever seen, and he's letter perfect here even if he's somewhat wasted. Brian Keith is as solid as always, as is the rest of the cast, with special kudos for Lorne Greene in a small role as the heavy. Phil Karlson was generally a better director than his material (KANSAS CITY CONFIDENTIAL being his one real masterpiece), but he seems caught between a rock and a hard place here, either dissipating the claustrophobic atmosphere by opening it up too much or staying in that hotel room until tedium ensued (many scenes undeniably go on too long, with way too many words).TIGHT SPOT is a decent film, and with two of the genuine greats of cinematic history in its cast, it's one that shouldn't be missed.

I love it when Mississippi Mac bangs out a tune on his head using a rubber mallet, a clever touch getting comedy relief from a TV parody of a country and western telethon. Otherwise, it's a pretty somber movie and extended showcase for Rogers then coming off a reverse blacklist of Hollywood right-wingers. As it is, Rogers gets ninety minutes of snappy dialog with more brass than spent cartridges on a rifle range. But, frankly, all the tough talk and attitude does get tiresome despite her spirited effort. The fact that she's 40-something and starting to bulge strikes me as just right for the aging party-girl part. Remember, Sherry (Rogers) is supposed to have been around the block more than a few times and is now looking back over what she suspects is a misspent life. That's what makes her otherwise hardened character rather poignant and vulnerable. What a shrewd piece of casting to pair the high-key Rogers with the low-key Bryan Keith. At this career stage, Keith was one of the more subtle actors around, able to convey a lot by doing very little. Director Karlson apparently liked him too, casting him also in his 5 Against the House (1955). And for Robinson and Rogers, it must have seemed like old home week at Warner Bros.But truth be told, cult director Karlson is wasted in a crime drama that any one of a dozen lesser directors could have handled. At the same time, I didn't see the major plot twist coming which strikes me as the most memorable part of a too-stagey film; although, like other reviewers, that family spat with sister Clara (McVeagh) is a real barn burner and high point. Anyway, the film's an okay crime story that really serves as a vehicle for a Ginger Rogers career revival.

Ginger Rogers sheds her usual movie ways and portrays a girl surviving a sentence for hiding a criminal. She is offered her freedom if she will testify against someone who the government is trying to get. Problem is that her ex-boyfriend has already taken a fatal bullet on his way to testify.Edward G. Robinson is the D.A. here in this exciting film. There is a marvelous supporting performance by Brian Keith, as the cop, assigned to watch her. Naturally, romance blooms and there is quite a surprise waiting for viewers when we realize who he really is in this film.Here is a girl telling those in prison to keep their mouths shut and do as little as possible. "Never volunteer" is her motto. How quickly the situation and her beliefs change.As Sherry Conley, Rogers depicts a girl whose environment led her astray. The film is well worth catching.