LouHomey From my favorite movies..

WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Mandeep Tyson The acting in this movie is really good.

freezageeza1966 For what it is,this is a thoroughly enjoyable 40's detective flick.Mike Carter (Tierney),gets sacked for punching his superior in an office fracas and becomes tempted into protecting a rich,meat packing business woman from some unscrupulous characters.......oh and gets framed for the murder of his previous superior in the process.Assisting him is Doris Brewster (Lane),his girlfriend who still works in the police station he once frequented,and is able to provide Carter with valuable info from police files now out of his reach.At a runtime of just over an hour,a movie like this needs to have a cracking pace,and this movie doesn't disappoint. It has all the action,intrigue,humour and suspense you could need,including some great one liners delivered by Tierney,all thanks to Richard Fleischer's direction.You really cannot go wrong with this one.

Armand a naive story. classic thriller. not bad actors. and Robert Altman first steps. the pieces - a good guy in troubles, his girl friend, a wise old lady, the murderer. a childish plot but, in same measure, seductive script and interesting performance. Lawrence Tierney does a credible detective with usual ingredients of innocent in a dark world and virtues of perfect hero. Priscilla Lane is best choice as young courageous woman who gives help to her boy-friend and serves with strong energy the justice. at first sigh, nothing original. but a nice film has not need by originality. flavor of old rules, vulnerable old lady and honest detective are enough for few sparkles of memories.

Brian Camp BODYGUARD (1948) is a snappy 62-min. b&w noir programmer directed by Richard Fleischer and starring Lawrence Tierney. Rather than repeat what others have said here, I'd rather emphasize a couple of things that truly distinguish this film. For one thing, it was filmed largely on location at sites all over Los Angeles. Ex-policeman Mike Carter (Lawrence Tierney), trying to clear himself of a false murder charge, moves around L.A. quite vigorously in the course of his investigation, sometimes by car, sometimes by cab, and sometimes on foot, traveling to shops, offices, back alleys, factories, piers, and amusement arcades all over the city. If you like seeing film footage of L.A. in the 1940s, there are many films with abundant footage, but none quite like this one.Also, I'd like to single out a very clever scene that offers an ingenious method of transmitting key information from one location to another in the era before fax machines, cell phones, or e-mail. Carter needs the contents of a case file kept by the police officer whose murder he's been framed for. Only his girlfriend, Doris (Priscilla Lane), who works in the department, can find the file for him. He tells her over the phone to write down all the important cases handled by the officer in the past year and then go to an amusement arcade on 3rd Street, find a "Record Your Own Voice" booth and read all the cases into the microphone onto as many vinyl records (78 rpm) as needed, and then to leave the stack of records for him at the cashier's counter under an assumed name. Carter's plan is to go to the arcade, give the assumed name, enter an available booth and listen to the records until he finds the case he's looking for. There are wonderful little details of character and street life woven into the scene (and just about every scene in the movie). When Carter first enters the arcade, the brassy blonde at the counter is flirting with two sailors and claims not to know anything about a stack of records for a "Mr. Nolan." An anxious Carter gets insistent and the two sailors turn on him, spoiling for a fight. Only then does the manager come over and defuse the situation and find the package of records for Carter. It's just a brief moment but it not only adds to the suspense, but captures so much of the tenor of the time and place.The basic plot itself—corrupt industrialist covers up shady business practices via murder and convenient frame-ups—would get recycled ad infinitum on TV cop shows in the 1970s. But it might have seemed somewhat fresh back in 1948, especially after ALL MY SONS (also 1948), based on Arthur Miller's play, raised a similar issue in a drama of a wartime industrialist who sends out defective airplane parts with tragic results.

Sleepy-17 Fleischer would go on to direct much better movies, and in fact the excellent "Follow Me Quietly" is his next film. Robert Altman's story co-credit indicates nothing. Enjoyable performances from Tierney and Lane, and a short and well-photographed fight scene in a butchery near the end, don't make up for the mundane plot.