Envuelto en la sombra

Título original: The Dark Corner

1946
Approved
1h 39min

PUNTUACIÓN EN IMDb

7,1/10

5,4 mil

TU PUNTUACIÓN

Lucille Ball and Mark Stevens in Envuelto en la sombra (1946)

Reproducir trailer2:26

1 vídeo

17 imágenes

Film Noir Crime Drama Romance

Añade un argumento en tu idiomaA secretary tries to help her boss who's been framed for murder.A secretary tries to help her boss who's been framed for murder.A secretary tries to help her boss who's been framed for murder.

Ver la información de la producción en IMDbPro

PUNTUACIÓN EN IMDb

7,1/10

5,4 mil

TU PUNTUACIÓN

Ver la información de la producción en IMDbPro

Maid
(sin acreditar)

Peter Cusanelli

Minor Role
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Ralph Dunn

Policeman in Galleries
(sin acreditar)

John Elliott

Laundry Proprietor
(sin acreditar)

Mary Field

Movie Theatre Cashier
(sin acreditar)

Alice Fleming

Minor Role
(sin acreditar)

John Goldsworthy

Butler
(sin acreditar)

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Argumento

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Curiosidades
In later years, Lucille Ball was vocal about hating the experience of shooting "The Dark Corner". The lion's share of her resentment was pointed at director Henry Hathaway, whose bullying reduced Ball to stuttering on set, at which point Hathaway accused her of being inebriated.

Pifias
When private investigator Bradford Galt strong-arms Fred Foss to reveal his home phone number, Foss replies, "CHelsea 4-43510." In the Manhattan phone book for 1946, they only had the CHelsea 2 and CHelsea 3 exchanges. This may be an early version of the 555 prefix which is the convention for fictional phone numbers.

Citas
Hardy Cathcart: How I detest the dawn. The grass always looks like it's been left out all night.

Conexiones
Referenced in Una vida marcada (1948)

Banda sonora
Give Me the Simple Life
(uncredited)
Music by Rube Bloom
Played when Brad and Kathleen are looking at the nickelodeons

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Comentarios

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Great little-known film-noir

Watched this on American Movie Classics the other day ... what a great surprise. Witty dialogue with lots of clever innuendo, murky (but not annoyingly so) plot, and stark, moody lighting set the scene for the "typical" noir scenario in which the smart-cookie secretary (Lucille Ball) saves the private eye's hide. The costumes are also wonderful -- 1940s glamour all the way, from Lucy's tailored suits to the rich wife's evening gowns and nightie (gasp!).