No Questions Asked

1951
Approved
1 h 20 min

AVALIAÇÃO DA IMDb

6,7/10

1,1 mil

SUA AVALIAÇÃO

Arlene Dahl and Barry Sullivan in No Questions Asked (1951)

An insurance lawyer unhappy with his rate of company advancement becomes a middleman in deals to recover stolen property from the Mob, thus earning a nice living. But his actions attract police attention and set him up for a double-cross.

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Film Noir Crime Drama Mystery Romance

Adicionar um enredo no seu idiomaAn insurance lawyer unhappy with his rate of company advancement becomes a middleman in deals to recover stolen property from the Mob, thus earning a nice living. But his actions attract pol... Ler tudoAn insurance lawyer unhappy with his rate of company advancement becomes a middleman in deals to recover stolen property from the Mob, thus earning a nice living. But his actions attract police attention and set him up for a double-cross.An insurance lawyer unhappy with his rate of company advancement becomes a middleman in deals to recover stolen property from the Mob, thus earning a nice living. But his actions attract police attention and set him up for a double-cross.

Direção
- Harold F. Kress
Roteiristas
- Sidney Sheldon
- Berne Giler
Artistas

Veja as informações de produção no IMDbPro

AVALIAÇÃO DA IMDb

6,7/10

1,1 mil

SUA AVALIAÇÃO

Direção
- Harold F. Kress
Roteiristas
- Sidney Sheldon
- Berne Giler
Artistas

Veja as informações de produção no IMDbPro

Curiosidades
This film flopped at the box office, resulting in a loss to MGM of $377,000 (about $4.6M in 2024) according to studio records. It did not even make back its negative cost, let alone expenses for duplication, distribution, and advertising.

Erros de gravação
A policeman alerts patrol cars in the vicinity of "18th Street". In Manhattan all numbered streets are divided into East and West, so anyone giving an address would say "East 18th Street" or "West 18th Street," never the number alone.

The reporting policeman's notification came from a police call box. The location of that box as well as the cop's "beat" would have allowed headquarters to know the general location. However, the broadcast policeman's failure to provide that general location would have led to all squad cars along the ~2 mile stretch of (East and West) 18th Street to be on alert.

Citações
[first lines]
Steve Keiver: [voice-over narration as he hides in the night-time shadows from passing police cars] My name is Steve Keiver. That's what all the sirens are about, they were screaming for me. I was very popular that night--everybody wanted me, dead or alive. Big Franko wanted me dead. I don't think it mattered to the police how they got me, just so they got me. You'd think there'd be a thousand hiding places in a large city, but there aren't. No, not when they want you.
[more police cars arrive, blocking the street]
Steve Keiver: They turn a spotlight on you and they keep narrowing the circle, closing in for the kill. They let you wear yourself out until you're too tired to run anymore. You stand there hypnotized waiting for them to get it over with. You wonder how it happened and where it all really began. It started somewhere out there beyond the searchlights and the sirens. You had ideals and you went to a top law school. Then you went to work for an insurance company. No, but it wasn't any of those things. I think it really started when I received the telegram that Ellen was coming home. Really started that morning at the airport.
[flashback to airport scene]

Conexões
Featured in Noir Alley: No Questions Asked (2018)

Trilhas sonoras
I've Got You Under My Skin
(uncredited)
Written by Cole Porter
Sung along with jukebox by Jean Hagen and heard in score

Avaliações de usuários32

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Avaliação em destaque

6/10

Some terrific lines

Yes indeed, some terrific lines here, especially by Jean Hagen. She is the jewel of this passable noir. Watch for the scene where she shows up at Sullivan's apartment and the interaction with Arlene Dahl. Priceless and somewhat unexpected given the film's age. Some other good stuff as well, again considering the film's age. Like the holdup by two men disguised as women. Otherwise the main premise of the lawyer who acts as go-between criminals and insurance companies is a bit thin. The acting is fine if not exceptional. Barry Sullivan is convincing as the lawyer out for a fast buck to impress gold digging Arlene Dahl whose presence is enough as usual. But it's Jean Hagen who shines and makes this worth watching, at least for her scenes.