Jeanskynebu the audience applauded

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Dana An old-fashioned movie made with new-fashioned finesse.

mark.waltz Here comes 'da' judge, a serial killer who only attacks during downpours, strangling those he has judged to be less than moral in a society he feels deserves to have the gavel brought down upon it. He leaves behind just enough evidence to confound the detectives, determined to locate him before the mercury rises again. To aid the search, detective William Lundigan creates a dummy model, which he adds details to every time another clue is dropped into his lap. Magazine writer Dorothy Patrick is initially a thorn in his side, but he can't help but later involve her when he realizes how important this story is to her.This clever and tense film noir isn't about who it is, but why and how the culprit's train of death is stopped. Clues leads to waitresses, landlords and crazies who claim to be the killer, and eventually a gripping conclusion that rivals the same year's "White Heat" in its use of a confrontation in a power plant. The film is superbly edited with enough dark photography to keep it gripping for its tight hour-long running time. This shows that the bottom of the bill could be more exciting and ultimately more satisfying than the top of the bill "A" feature.

ALauff Exactly what I was looking for on a sleet-filled Sunday night—a 60-minute crimer that is as ludicrously entertaining as it is nonsensical. A serial killer calling himself "The Judge" strikes on rainy nights, strangling his victims and leaving behind stenciled notes with warnings like, "I have been ordained to destroy all evil!" That one was left behind on an editor's desk, after the killer pitched the newspaperman through a second-story window (notable for the victim narrating the struggle in flashback). The cops are given hilarious dialogue that never fails to provoke a giggle. In one scene, the tough detective covering the case runs down the list of evidence. Regarding the killer's personality, he offers, "And we know how he thinks—he likes passing judgment on people." His wisecracking partner actually gets off a few humorous quips. The detectives get the inspired idea to create a faceless dummy to supplement their "routine bulletin information," which adds absolutely nothing to that knowledge but an odd, faceless, 3-dimensional model to complement their faceless, 2-dimensional sketches. And what a rough customer the protagonist is! He's absolutely ruthless to a (beautiful blonde) reporter, heaping insults at her ("that rag of a newspaper belongs in the river!") and basically scolding her for being an information whore. Somehow she falls for him. As written by Lillie Hayward and Anthony Mann, the film has a surprising streak of ill will towards print media; through Lundigan, they effectively state that newspaper coverage will inspire a breed of copycat killers. And did Anthony Mann step in to direct that incredible finale in a chemical plant? I wonder. It features his fascination for geometric angles and outstretched hands to the face and such. I never tire of movies like this. An unpretentious good time courtesy of the old RKO studio and solid worker-bee Richard Fleischer.

dbdumonteil The two movies I mention in my title were proofs positive that ,all that Fleischer threatened to do in the film noir field all the promises were fulfilled ."Follow me quietly" can be looked upon as a blueprint for these masterful works.Its only flaw is its length: it's obviously too short,and we would like to know more about the Judge.This serial killer apparently "punishes": like in Agatha Christie's famous "And then there were none"(1939) ,a subject which was also that of the celebrated "Seven" .All the scenes which feature the dummy are extraordinary ,and Fleischer shows his brilliance when it comes to make us feel he is "alive".Outside these three works,do not miss early efforts such as "the clay pigeon" (with a shoestring budget too) "the narrow margin" or later works such as "blind terror" and "Solyent green " (a sci fi classic with film noir accents);only Fleischer's final movies were mediocre ,the likes of "Amytiville" "Conan" and "Ashanti" which perhaps went against him and tarnished his image.Which was unfair.

stoneyburke In defense of the movie I DID have a decent time. Story was neat..Who couldn't appreciate a faceless suspected murderer..(See it to know of what I speak.) The scenes with the faceless fella were indeed eerie like the wonderful Jeff Corey also commented. My problem was 100% with Dorothy Patrick. She reminded me of Priscilla Lane, not one of my favorites, but Ms Lane could show something going on in her noggin. It seemed like perhaps William Lundigan treated her poorly or plain ignored her off camera..there wasn't an ounce of anything resembling attraction/chemistry that I could detect. Ms Patrick wasn't the sexiest gal around but she also showed nothing resembling acting ability.Anyway, besides she standing out in the rain in her raincoat and entering a bar dry was not her fault but after the ginger ale her bird-dog attempt to get to the police LT (Lundigan) for allowance for her magazine article was weak. Lundigan caved in far too quickly for his "release" or whatever it was called. The film may have done fine without the weak romantic addition. Sure Barbara Stanwyck could have pulled the Patrick role off in spades but...Do see it and it's not a lengthy film and then YOU can chop it to pieces or hail its praises!