Very disappointing...

i must have seen a different film!!

best movie i've ever seen.

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Money counterfeiting is the subject of this enjoyable, if predictable, crime drama where a convicted counterfeiter (Lloyd Bridges in a very serious role) is offered the possibility of early parole if he helps the Department of the Treasury capture and convict those who have continued Bridges' counterfeiting racket while he's been behind bars. Of course, Bridges isn't on the up and up as he utilizes this plan to escape from prison and reconcile with his former girlfriend (the gorgeous Barbara Payton) who has divided loyalties of her own.Practically every government bureau has been a part of a documentary style crime drama or film noir where it is obvious that the writers are showing that "You can't get away with it", and here, that is obvious from the start as to the theme of the movie. The film starts off with the plight of a struggling restaurant owner who discovers that the $20 bill she took in earlier was a fake and how that money could make or break her. It is obvious that when the feds confront Bridges in prison to bargain with him that he won't follow through with his agreement and that adds a sense of falsehood to the plot.There's a few exciting chase sequences and some wonderful moments of dialog between Bridges and the bleach-blonde Payton, some tense moments where the undercover fed's cover is blown, and a stunningly violent conclusion. This makes the film overall acceptable, but it has been done many times before and since, and much better.

The film begins with a rather heavy-handed and hokey introduction extolling the virtues of Secret Service in their dealing with forged American dollars. Then, the actual story begins. It seems that a counterfeit $20 has turned up--and it's an awful lot like one passed by a man who has now been in prison several years (Lloyd Bridges). When he's questioned, he refuses to cooperate. However, when he does seem to be cooperating, it's a ruse--and soon he's escaped from custody. Eventually he makes his way back to his old gang--and he wants in for some of the action. Along the way, he meets up with a sharp character (John Hoyt) who wants to bankroll Bridges' scheme to make a killing with counterfeit bills. How all this works out is something you should see for yourself--and I really don't want to spoil the suspense by saying more.When this fame debuted in 1949, Bridges and Hoyt were hardly household names. Bridges went on to great fame in the 1950s and 60s but here he plays a guy very much unlike his later roles--in "Trapped", he's just a nasty little hood. As for Hoyt, he's a face many will recognize though his name would escape most. He generally played cranky guys who were not the least bit macho or heroic, yet here he plays a man definitely against this type! In fact, it might just be one of Hoyt's best roles--if not his best. It's a shame, really, as he MIGHT have become a household name, as he was the original Doctor in the pilot episode of "Star Trek".Overall, the film has a dandy script, is very entertaining and is a nice example of a lesser film noir movie that deserves to be seen. While not great, it certainly is very good and quite watchable.

Lloyd Bridges stars, and is slightly miscast(he's too good looking), in a tale of forger on the run. Bridges is a counterfeiter doing a stretch of time who is confronted by the reemergence of the bank notes he had been passing that got him put in jail. The Treasury department comes to ask his help and he at first refuses. Later he agrees and is set free in a staged escape. Bridges takes it on the lam and tries to run down the plates he had entrusted with a friend. Dark complex tale is a very good B crime drama. If it has any real flaws its that Bridges is not gritty enough as the lead. He doesn't feel like a tough felon in with a bunch of bad guys. Its far from a fatal flaw, but it's the difference between this being a great drama and a very good one. I also need to point out that the great and long running character actor John Hoyt has a large and very important role as an undercover T-man. Hoyt is a guy who usually plays a villain and usually has tiny roles, but here he gets what amounts to the second lead and he shines. Worth a bag of popcorn and a soda.

Ordinarily you'd expect Lloyd Bridges to be tracking down perennial villain John Hoyt. But here the usual roles are reversed-- Hoyt's the government agent and Bridges the small time hood. The movie itself is pretty typical of the docu-dramas of the period. It's the Treasury Department's turn to get the Hollywood treatment with the usual glowing introduction and stentorian narration. Though, like the stellar docu-drama T-Men (1947), the docu part soon gives way to big city noir. However, this film lacks importantly the former's grotesque air of nerve-wracking suspense.Director Fleischer and the writers manage a couple of nice twists, particularly at the beginning. Nonetheless, the script makes a basic error in switching the action from Stewart (Bridges) to Sylvester (James Todd) in the climactic part. (Was Bridges taken ill or otherwise made unavailable.) Unfortunately, Todd simply lacks the screen presence to intimidate an audience or make us loathe him, whereas Bridges can snarl and menace with the best of them. Thus the last third fails to generate the kind of mounting dread required of an A-grade suspenser. Then too, Hoyt's basically cold demeanor and cruel looks don't arouse much natural sympathy that would encourage you to identify with him. Thus, the suspense is further weakened by what should be an emotional interest in the treasury agent's fate. The casting here really is a departure from the expected and to the movie's detriment.Note how the culminating shootout takes place at an industrial site-- the overnight barn for LA's late, lamented trolley system, where we get a look at what could have eased LA's horrendous traffic problem. Actually, industrial sites crop up in the climax of a number of crime dramas of the period-- White Heat (1949), 7-11 Ocean Drive (1950), Union Station (1950), et al. I guess producers of the time figured running around big machines and shooting at each other would make for colorful audience excitement. Of course, the movie's also notable for the presence of notorious Hollywood bad-girl Barbara Payton, who was involved in several tawdry Hollywood scrapes and apparently ended her brief life as something of a cut-rate call girl ("Hollywood Babylon"). Whatever the direction of her private life, she's quite good here as Bridges' shapely blonde moll.Anyway, for its type, the movie's average at best.